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That Hollywood has a gender equality problem is not in doubt. The conversations around what constitutes assault and harassment, and about how Hollywood culture reflects and reinforces equality in society at large, is vital, and sophisticated. The standard of what we should expect is being constantly raised. It should be.
Many films and TV shows use mental illness to explain violent behaviour. The stereotype is so ingrained that after the recent Florida shooting, Trump said he would deal with 'the difficult issue of mental health', but didn't mention guns once. In reality, people with mental illness are more likely to be the victims than perpetrators of violence.
If you're looking for concrete facts, look somewhere else. What Robbie gives us instead a portrait of a sympathetic antihero, whose rough and 'redneck' manner stands in contrast to her profound abilities, and at odds with the gentility of her chosen sport. Meanwhile her farcical mantra 'It wasn't my fault' whenever things go wrong is given weight by a portrayal of serial abuse.
Does watching this ridiculously premised film full of obnoxious characters, complete with smatterings of Singlish, make me feel culturally represented? Yes. There are threads of cultural recognition in the Southeast Asian locations and the Chinese customs that resonate, as well as the cultural mobility of various characters.
Aboriginal filmmaker Warwick Thornton exercises his visual mastery to its fullest in order to elevate a straightforward story of outback brutality and racial prejudice to the proportions of myth.
A visitor from an earlier time would be stunned to see how much we understand the world using monetary measures. Finance has come to be considered the first reality, not defined by, or reflecting, reality. To see how this creates distortions, consider GDP, which is taken to be a reliable measure of national wellbeing, but in fact is anything but.
As America endures one of the most authoritarian and chaotic presidencies in its history, Richard Nixon has, for obvious reasons, been a recurring touchstone for many commentators. Given the clear comparisons, it's no surprise Steven Spielberg pulled out all the stops to bring The Post to the public ASAP.
Many claim it is inappropriate for media to report these stories. The concept of justice at law depends upon systems designed to weigh evidence, affording the parties the opportunity to tell their stories. But what if these systems are inadequate to expose the abuses of power evident in the recent disclosures?
The results of recent surveys concerning sexual assault and harassment in the Australian arts are appalling. Post-Weinstein, this feels like a reckoning of the creative industries. Despite the increased awareness, many are asking how we can possibly change the entrenched culture of harassment and discrimination.
Lately Lucky has death on his mind, and these and other various acquaintances serve as stars by which he navigates his close-held fears of impending oblivion.
Detroit weaves archival footage with recreations of the racially charged 12th Street Riot of 1967, a moment poised against the civil rights movement and the disenfranchisement of urban blacks, before homing in on the incident at the Algiers motel - a cross-section within a cross-section of that moment in history, where three black citizens were beaten and killed by police.
Fernando is an avatar for the 13th century saint. He is seen encamped on the bank of a river in the Portuguese wilderness, clad in a brown hoodie that emulates the robes of the Franciscan order of which Anthony was a member. The act of bird-watching evokes St Francis of Assisi, the order's founder (and the present Pope's namesake). But things get rather more surreal from there.