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Natalia Leite's 2015 film Bare picks up where Barbara Loden's 1970 film Wanda left off, each acting, indirectly, as the proto- and fourth wave- feminist renderings of the other.
Horizontal Collaboration, the superb French comic by Navie and Carole Maurel, reassesses the sexist biases of history.
Filmmaking was only one element of a much wider feminist movement that was manifesting itself in various forms, from the flapper to the suffragette to the birth control advocate to the bohemian female writer and political activist.
As far as The Handmaid's Tale and Philosophy is concerned, Trump et al are the exact bastards you're not supposed to let grind you down.
A contemporary viewing of Alfred Hitchcock's 1964 film, Marnie, makes it clear: we must understand the inner workings of the male gaze and subsequently annihilate it.
Donna Zuckerberg's Not All Dead White Men is a powerful study of the ways the alt-right distorts the understanding of ancient Greek and Roman literature to serve hateful interests today.
It's a testament to Zevin's understanding of multiple age groups that she's able to capture a variety of women at various life stages. Her portrayals feel honest and true.
Americans in the '70s would not accommodate a female Japanese performer of experimental music that is designed to provoke. Have we grown since then?
Algorithms of Oppression addresses the growing concern about the consequences of commercial control over information and the harm it does to communities.
Director Elaine May belongs to that list of otherwise male creative geniuses who naturally clash with the commercial system, including Erich Von Stroheim, Orson Welles, and Otto Preminger.
Barry Lyndon suggests that all violence—wars, duels, boxing, and the like—is nothing more than subterfuge for masculine insecurities and romantic adolescent notions, which in many ways come down to one and the same thing.