Important News: In 2019, Independent Media Publications, LLC will transition publication of The Independent and its assets to another organization, and the current board of directors seeks to receive proposals from interested parties no later than March 1, 2019.
Senior Film Critic Kurt Brokaw offers recommendations from the 28th edition of the New York Jewish Film Festival (32 features, 6 shorts, most US, World, or New York premieres). The festival, which runs from January 9th through the 22nd, is co-sponsored by the Jewish Museum and the Film Society of Lincoln Center. Check through January 22nd for updates!
In this final installment of Women in Film Portraits, Lauren Sowa profiles Actress/Writer/Producer Kisha Barr, who has appeared in many television, film, and commercials. Kisha talks to Lauren about current projects, lessons learned, and about what inspires her.
Evan Crean traveled to Montreal for the 21st annual Montreal International Documentary Festival (RIDM), which took place November 8 to 18, 2018. Of the 157 films from 47 countries it screened, he offers reviews of the seven he was able to squeeze into his weekend there.
In this final installment of Bette, Marilyn, and #MeToo, Kerry McElroy brings her timely and informative series to a close. But not before considering what today’s feminists and Hollywood insiders have to say about the relevance of studio-era actresses on this contemporary moment.
The 2018 American Film Market just wrapped up in Santa Monica, California. This year saw comparably stronger sales for small, independent films. Courtney Sheehan was at the AFM, and writes about the importance of relationships and risk-taking, key themes that emerged in the conference sessions on production and distribution.
In this installment of Women in Film Portraits, Lauren Sowa profiles Writer/Director Christina Kallas on her new film Paris in Harlem as well as earlier works: 42 Seconds of Happiness and The Rainbow Experiment. Kallas shares her cinematic influences and offers advice to emergent filmmakers and artists.
As the world opened up to women’s liberation, civil rights, and new social movements, Hollywood of the 1960s doubled down on the exploitative practices that had made the industry so harmful to women. In this sixth series installment, Kerry McElroy argues that the sexual revolution stirring the larger culture, epitomized in the rise of Hugh Hefner, fanned the flames of an already misogynist, violent industry culture. As seen through the lives of Tippi Hedren and Marilyn Monroe, this article shows that the commodification of women only increased, even as the old studio system was dying. Few stars experienced the exception; read on about a compelling example: Elizabeth Taylor.
The 1950s was era of bigger stars, bigger budgets, and bigger bombshells. At same time, the studio system was weakening in the wake of television and a fearless and libelous emerging tabloid press. In this fifth series installment, Kerry McElroy examines the supreme pop cultural star of the twentieth century, Marilyn Monroe. Examined, in her own words and in new ways, McElroy’s Monroe is a kind of economic sociologist, a surprising forerunner of the #MeToo movement, and a forgotten proponent of social justice. Finally, McElroy considers another marquee court case, one in which star actresses fought back against the tabloids with bravery.