大女優として知られるマリア（ジュリエット・ビノシュ）は、忠実なマネージャーのヴァレンティーヌ（クリステン・スチュワート）とともに、二人三脚で日々の仕事に挑んでいた。そんななか、マリアはかつて自身が世間に認められるきっかけとなった作品のリメイクをオファーされる。しかし、その役柄は彼女が演じた若き美女シグリッド役ではなく、彼女に翻弄される中年の上司、ヘレナ役。若い主人公の配役は、すでにハリウッドの大作映画で活躍する若手女優のジョアン（クロエ・グレース・モレッツ）に決定していた…
When her daughter is kidnapped in Belize and held hostage to be used for human organ trafficking, Kate Johnson goes on a crusade to infiltrate the cartel and rescue her.
Arguing that advertising not only sells things, but also ideas about the world, media scholar Sut Jhally offers a blistering analysis of commercial culture's inability to let go of reactionary gender representations. Jhally's starting point is the breakthrough work of the late sociologist Erving Goffman, whose 1959 book The Presentation of the Self in Everyday Life prefigured the growing field of performance studies. Jhally applies Goffman's analysis of the body in print advertising to hundreds of print ads today, uncovering an astonishing pattern of regressive and destructive gender codes. By looking beyond advertising as a medium that simply sells products, and beyond analyses of gender that tend to focus on either biology or objectification, The Codes of Gender offers important insights into the social construction of masculinity and femininity, the relationship between gender and power, and the everyday performance of cultural norms.
Since her childhood, the eccentric artist Johanna Seelig has been living in her parents' home, an old inn on a picturesque lake. She has not rented a room for a long time, her only permanent guest is the quirky German studies professor Franz Gmeiner. One day when Johanna takes her offended niece Malu with her, her contemplative life is whirled upside down. The family comedy "Room with Aunt" tells the story of an unusual friendship. The main roles are played by Jutta Speidel and Nadia Hilker.
As a nun, Katharina von Bora lives the life destined for her until she comes into contact with a completely new world of thought in the early 20s through the writings of Martin Luther. She flees with some of her co-sisters and comes without legal status, without income and rejected by her family to Wittenberg, where she meets Martin Luther personally. Katharina decides to marry the reformer and, as his wife, becomes a respected housekeeper, an equal interlocutor and the mother of their children together.
Hilla grows up in the 60s, her father is a worker and her mother a charwoman. But she wants a different future for herself, wants to study. After a violent incident she needs a strong shoulder. Who of her life will do?
Diagnosis burnout: The successful career woman Toni Lehmstedt can be referred to a psychiatric clinic after a physical breakdown. Urs Egger's free adaptation of the biographical novel of the same name by Miriam Meckel with Grimme award winner Marie Bäumer in the leading role.
How do we represent the ideas of gender? This short reflects about this topic, as we see an unidentified character, suited up, and with a paper bag over his head, walking down the hallway of its high school.
In 1995, Adina Howard made waves in the world of music with her hit song “Freak Like Me.” Never before had a solo R&B female artist made such a bold and controlling stance sexually through song. Along with becoming one of the highest selling singles and most played music videos on MTV and BET in 1995, Adina Howard’s performance allowed young women of color and future recording artist to express their sexuality without shame.
“Adina Howard 20: A Story of Sexual Liberation” shares Adina’s story through her own words as well as the impact that she made during the 1990s and thereafter.
Adina speaks on her relationship with Tupac Shakur, the banning of her music video from BET, landing a cameo role in the movie “Waiting to Exhale,” her encounter with legendary vocalist Nancy Wilson, working with Hollywood giants Jackie Chan and Jamie Foxx and the sudden halt to her stardom due to her comments about record exec Sylvia Rhone.
They once played together in a band called Chix and were inseparable. Today, each of them has their own problems.
American Reflexxx is a short film documenting a social experiment that took place in Myrtle Beach, South Carolina. Alli Coates filmed performance artist Signe Pierce as she strutted down a busy oceanside street in stripper garb and a reflective mask. The pair agreed not to communicate until the experiment was completed, but never anticipated the horror that would unfold in under an hour. The result is a heart wrenching technicolor spectacle that raises questions about gender stereotypes, mob mentality, and violence in America.
For 18-year-old Finnish–Kosovan Fatu, a simple visit to the grocery store feels as nerve-racking as a lunar expedition: for the first time in his life, he’s wearing makeup in public. Luckily his best friend Rai, a young woman on the spectrum of autism, is there to ferociously support him through the voyage.
1943年、南太平洋ソロモン諸島ガダルカナル。上官の戦死で小隊を指揮することになったエンダーズ伍長だったが、日本軍の猛攻の前に若い兵士たちを次々と失い、自らは負傷しながらも唯一の生き残りとして心と体に深い傷を負い帰還する。責任を感じるエンダーズは一刻も早い復隊を希望する。ようやく復隊が認められたエンダーズに課せられた新たな任務は、“ウインドトーカーズ”と呼ばれたナバホ族の通信兵とペアを組んで護衛し、彼の戦場での安全を確保することだった。しかし、真に必要とされたのは暗号の秘密の死守で、そのためにはいかなる犠牲を厭うなとの極秘指令も含まれていた……。
巨匠リドリー・スコットが突きつける、空前のアクション・サスペンス大作！ レオナルド・ディカプリオと、アカデミー俳優ラッセル・クロウ――ハリウッドきっての豪華２大スターが顔を合わせ、いま至極の「嘘の世界」〈ワールド・オブ・ライズ〉が、その幕を開ける！
世界を救おうとする２人の男。CIA工作員のロジャー・フェリス（ディカプリオ）と、彼の上司であるベテラン局員、エド・ホフマン（クロウ）。
フェリスは、世界中の情報網の中枢に潜入し、現場を知らない上司にキレながらも、命を張って働く男。一方のホフマンは、平和な自宅や安全な本部から電話一本で命令し、部下の意見は無視する冷酷な男だ。
そんな生き方も考え方も違う２人の目的はひとつ。地球規模の爆破事件のリーダーを捕まえること。
足跡すら残さない正体不明の犯人をおびき出せるのは、「世界一の嘘」しかない。フェリスとホフマン、そして他国の諜報部の、息もつけない頭脳戦が始まった！
果たして世界を救うのは、いったい誰のどんな嘘か──？
映画「イノセンス」の舞台は、人々が電脳化され、声を出さずとも、コンピューター端末を打たなくとも、ネットワークを通じたデジタルコミュニケーションが可能になる一方、肉体の機械化も進み、人とサイボーグ、ロボットが共存する、2032年の世界。魂が希薄になった時代。決してそう遠くない近未来を舞台に物語の幕が開く。
主人公は、続発するテロ犯罪を取り締まる政府直属の機関・公安9課の刑事バトー。バトーは生きた人形（サイボーグ）である。腕も脚も、その身体のすべてが造り物。残されているのはわずかな脳と、一人の女性、素子（もとこ）の記憶だけ。
ある日、少女型のロボットが暴走を起こし、所有者を惨殺する事件が発生。「人間のために作られたはずのロボットがなぜ、人間を襲ったのか」。さっそくバトーは、相棒のトグサと共に捜査に向かう。電脳ネットワークを駆使して、自分の「脳」を攻撃する“謎のハッカー”の妨害に苦しみながら、バトーは事件の真相に近づいていく。
