The Female Gaze: 30 Beautiful Films Shot By Women Cinematographers
“The Strange Case of Angelica” (2010) “Beau Travail” (1999)
The Female Gaze is a two-week, July 26 to August 9, survey of 36 films shot by 23 female cinematographers programmed by the Film Society of Lincoln Center in New York. The retrospective will feature incredible films by trailblazing international directors of photography, including Agnès Godard, Natasha Braier, Kirsten Johnson, Joan Churchill, Maryse Alberti, Ellen Kuras, Babette Mangolte, and Rachel Morrison.
(Director: Claudia Llosa, DP: Natasha Braier)
Director: Claire Denis, DP: Agnès Godard
When is a rice cooker more than just a rice cooker? When it’s in the masterful hands of Claire Denis, who somehow transforms it into a moving metaphor for the evolving relationship between a Parisian train conductor (Alex Descas) and his devoted twenty-something daughter (Mati Diop) as he gently nudges her out of the nest and each tests the waters of new relationships. Warmed by the ember-glow of Agnès Godard’s beautifully burnished cinematography, Denis’s delicately bittersweet take on the Ozu-style family drama conveys worlds of meaning and emotion—attraction, heartache, loss, hope—in a mere glance, a gesture, and, yes, a kitchen appliance.
Director: Nick & Churchill Broomfield, DP: Joan Churchill
Just months after “Monster” made Aileen Wuornos a household name—and Charlize Theron an Oscar darling—documentarian Nick Broomfield and co-director/cinematographer Joan Churchill unleashed this riveting portrait of the real-life serial killer. Of the two films, it remains the more chilling experience, an unflinching face-to-face encounter with a deeply damaged soul who, as she prepares for her imminent execution, is at once eager to set the record straight, angrily defiant, and increasingly delusional. Daring to find the humanity in one of the most vilified criminals of the century, Broomfield and Churchill—whose camera remains ever-alert and skillfully unobtrusive—craft a haunting, complex look at a life gone wrong.
Director: Jacques Rivette, DP: Irina Lubtchansky
The final film from arch gamesman Jacques Rivette is a captivating variation on one of the themes that most obsessed him: the ineffable interplay between life and performance. Luminously photographed by Irina Lubtchansky in the open-air splendor of the south of France, it revolves around an Italian flaneur (Sergio Castellitto) who finds himself drawn into the world of a humble traveling circus led by the elusive Kate (Jane Birkin), whose enigmatic past becomes a tantalizing mystery he is determined to solve. In a career studded with sprawling shaggy dog epics, Rivette’s swan song is a deceptively slight grace note that contains multitudes. An NYFF47 selection.
Director: Eliza Hittman, DP: Hélène Louvart
Hittman follows up her acclaimed debut, It Felt Like Love, with this sensitive chronicle of sexual becoming. Frankie (a breakout Harris Dickinson), a bored teenager living in South Brooklyn, regularly haunts the Coney Island boardwalk with his boys—trying to score weed, flirting with girls, killing time. But he spends his late nights dipping his toes into the world of online cruising, connecting with older men and exploring the desires he harbors but doesn’t yet fully understand. Sensuously lensed on 16mm by cinematographer Hélène Louvart, Beach Rats presents a colorful and textured world roiling with secret appetites and youthful self-discovery. A 2017 New Directors/New Films selection. A Neon release.
Director/DP: Kirsten Johnson
How much of one’s self can be captured in the images shot of and for others? Kirsten Johnson’s work as a director of photography and camera operator has helped earn her documentary collaborators (Laura Poitras, Michael Moore, Kirby Dick, Barbara Kopple) nearly every accolade and award possible. Recontextualizing the stunning images inside, around, and beyond the works she has shot, Johnson constructs a visceral and vibrant self-portrait of an artist who has traveled the globe, venturing into landscapes and lives that bear the scars of trauma both active and historic. Rigorous yet nimble in its ability to move from heartache to humor, Cameraperson provides an essential lens on the things that make us human. A 2016 New Directors/New Films selection.
Director: Ryan Coogler, DP: Maryse Alberti
The legend of Rocky lives on as Michael B. Jordan’s gutsy Adonis Johnson—son of Apollo Creed—sets out to prove he’s got what it takes to be the next champ, leaving his luxe L.A. life behind to train in the hard-knock gyms of Philadelphia with the Italian Stallion himself. After the breakout success of Fruitvale Station, director Ryan Coogler shows his facility for major budget spectacle, balancing a rousing underdog sports story with a poignant portrait of intergenerational friendship. The virtuoso lensing of Maryse Alberti astonishes in a dazzling four-and-a-half minute fight sequence that unfolds in one bruising, breathless take.
Directors: Kirby Dick & Amy Ziering, DP: Kirsten Johnson
Postmodern intellectual rockstar Jacques Derrida receives an appropriately self-reflexive portrait in this playful, probing documentary. Framed by the French philosopher’s statements about the inherent unreliability of biography, it finds co-director Amy Ziering attempting to tease out the links between Derrida’s radically influential thinking (he expounds on everything from forgiveness to Seinfeld) and his own life. Even as the alternately witty and reflective Derrida remains cagey about personal matters, Kirsten Johnson’s attentive camera captures revealing flashes of the man behind the ideas. What emerges is a fascinating interrogation of filmic truth: a documentary that relentlessly deconstructs itself.
Director: Robin Campillo, DP: Jeanne Lapoirie
Jeanne Lapoirie’s surveillance-style camera, looking from above, masterfully follows the men who loiter around the Gare du Nord train station in Paris as they scrape by however they can, forming gangs for support and protection, ever fearful of being caught by the police and deported. When the middle-aged, bourgeois Daniel (Olivier Rabourdin) approaches a boyishly handsome Ukrainian who calls himself Marek for a date, he learns the young man is willing to do anything for some cash. What Daniel intends only as sex-for-hire begets a home invasion and then an unexpectedly profound relationship. The drastically different circumstances of the two men’s lives reveal hidden facets of the city they share. Presented in four parts, this absorbing, continually surprising film by Robin Campillo (BPM: Beats Per Minute) is centered around relationships that defy easy categorization, in which motivations and desires are poorly understood even by those to whom they belong.
Director: Michel Gondry, DP: Ellen Kuras
The feverish imaginations of DIY surrealist Michel Gondry and screenwriter Charlie Kaufman kick into overdrive for the great gonzo sci-fi romance of the early 2000s. When nice guy dweeb Joel (Jim Carrey) encounters blue-haired spitfire Clementine (Kate Winslet) on the LIRR, there’s a spark of attraction, but also something familiar—almost as if they’ve met before… Cue a ping-ponging, time- and space-collapsing journey through memory and a star-crossed love gone sour. The high-contrast handheld camerawork of Ellen Kuras enhances the whiplash sense of disorientation in what is, ultimately, a heart-wounding parable about the ways in which we inevitably hurt those we love most.
Director: Ryan Coogler, DP: Rachel Morrison
Coogler’s remarkable debut feature explores the life and harrowing death of Oscar Grant (played by Michael B. Jordan), a 22-year-old African-American man killed by police in the early hours of January 1, 2009. Six months after sweeping both the Grand Jury Prize and the Audience Award at the Sundance Film Festival, Fruitvale Station opened on the same weekend that jurors in Florida acquitted George Zimmerman in the death of Trayvon Martin. Rachel Morrison’s gripping, exploratory Super 16 on-location camerawork dramatizes the unseen complexities and personal relationships of Grant’s inner circle with a startling sense of urgency, emotion, and the unflagging awareness of a preventable tragedy too often seen in the news cycle.
Director: Leos Carax, DP: Caroline Champetier
Cinematographers Caroline Champetier and Yves Cape both lensed this unclassifiable, expansive movie from Leos Carax about a man named Oscar (longtime collaborator Denis Lavant) who inhabits 11 different characters over the course of a single day. This shape-shifter is shuttled from appointment to appointment in Paris in a white-stretch limo driven by the soignée Edith Scob (Eyes Without a Face); not on the itinerary is an unplanned reunion with Kylie Minogue. To summarize the film any further would be to take away some of its magic; the most accurate précis comes from its own creator, who aptly described Holy Motors after its world premiere in Cannes as “a film about a man and the experience of being alive.” An NYFF50 selection.
Director: Bertrand Bonello, DP: Josée Deshaies
“I could sleep for a thousand years,” drawls a 19th-century prostitute—paraphrasing Lou Reed—at the start of Bonello’s hushed, opium-soaked fever dream of life in a Parisian brothel at the turn of the century. House of Tolerance is, among other things, Bonello’s most gorgeous and complete application of musical techniques to film grammar, his most rigorous attempt to sculpt cinematic space, his most probing reflection on the origins of capitalist society, and his most sophisticated study of the movement of bodies under immense constraint. A shocking mutilation, a funeral staged to The Moody Blues’“Nights in White Satin,” a progression of ritualized, drugged assignations and encounters: Bonello and frequent collaborator Josée Deshaies capture it all with a mixture of casual detachment and needlepoint precision.
Director: Serge Bozon, DP: Céline Bozon
In the fall of 1917, as World War I rages, a lovelorn soldier’s wife (Sylvie Testud) disguises herself as a man and sets off for the front in search of her missing husband. Along the way, she meets up with a company of soldiers under the command of a gruff lieutenant (Pascal Greggory), who reluctantly allows Camille to join their ranks. From time to time, these surprisingly sensitive, introspective men break out an assortment of homemade instruments and perform original songs written for the film by Benjamin Esdraffo and the artist known as Fugu, styled after the American “sunshine pop” of The Beach Boys and The Mamas and the Papas. Exquisitely shot by Céline Bozon (the director’s sister), this unclassifiable hybrid of war movie and movie musical is truly unlike anything you’ve ever seen before. Print courtesy of the Institut Français.
Director: Jacques Rivette, DP: Caroline Champetier
Paris becomes a labyrinthine life-size game board in one of the most elaborate of Jacques Rivette’s sprawling, down-the-rabbit-hole cine-puzzles. Bulle Ogier and her daughter Pascale star, respectively, as a hitchhiking ex-con and a leather-clad tough girl who meet by chance on the city streets, come into possession of a curious map, and find themselves caught in a sinister cobweb of underworld conspiracy. Shooting seemingly on the fly, almost documentary-style on the streets of Paris, cinematographers Caroline Champetier and William Lubtchansky telegraph a freewheeling, anything-goes sense of play, as well as a creeping surveillance paranoia. An NYFF19 selection. 4K restoration from the 16mm negative, supervised by Véronique Rivette and Caroline Champetier at Digimage Classic, with the help of the CNC.
Director: Gus Van Sant, DP: Rain Li
At once a dreamlike portrait of teen alienation and a boldly experimental work of film narrative, Paranoid Park finds Gus Van Sant at the height of his powers. A withdrawn high-school skateboarder (Gabe Nevins) struggles to make sense of his involvement in an accidental death. He recalls past events across tides of memory, and expresses his feelings in a diary—which is, in effect, the movie we are watching. The extraordinary skating scenes, filmed by cinematographers Rain Li and Christopher Doyle in a lyrical mixture of Super 8 and 35mm, depict their subjects soaring in space, momentarily free of the earthly troubles of adolescence.
Director: Wim Wenders, DP: Hélène Louvart
Wim Wenders began planning this project with legendary choreographer Pina Bausch in the months before her untimely death, selecting the pieces to be filmed and discussing the filmmaking strategy. Impressed by recent innovations in 3D, Wenders decided to experiment with the format for this tribute to Bausch and her Tanztheater Wuppertal; the result sets the standard against which all future uses of 3D to record performance will be measured. Not only are the beauty and sheer exhilaration of the dance s and dancers powerfully rendered by Hélène Louvart and Jörg Widmer’s lensing, but the film also captures the sense of the world that Bausch so brilliantly expressed in all her pieces. Longtime members of the Tanztheater recreate many of their original roles in such seminal works as “Café Müller,”“Le Sacre du Printemps,” and “Kontakthof.”
Director: Alain Guiraudie, DP: Claire Mathon
Alain Guiraudie’s Cannes-awarded exploration of death and desire unfolds entirely in the vicinity of a gay cruising ground that becomes a crime scene. Franck (Pierre Deladonchamps) is a regular at a lakeside pickup spot, where he finds companionship both platonic and carnal. But his new paramour Michel (Christophe Paou) turns out to be a love-’em-and-leave-’em type, in the deadliest sense… Guiraudie has long been a singular voice in French cinema: anti-bourgeois, at ease in nature, a true regionalist and outsider. Here he and DP Claire Mathon capture naked bodies and hardcore sex with the same matter-of-fact sensuousness they bring to ripples on the water and the fading light of dusk.
Director: Tom Kalin, DP: Ellen Kuras
One of the most daring works to emerge from the New Queer Cinema movement of the early 1990s, Swoon offers a radical, revisionist perspective on the infamous Leopold and Loeb murder case. Channeling the spirits of Dreyer, Bresson, and Jean Genet, director Tom Kalin challenges viewers to identify with two of the most notorious killers of the 20th century, their crime—the Nietzsche-influenced thrill killing of a schoolboy in 1920s Chicago—and punishment recounted in ghostly black and white by Ellen Kuras. Throughout, Kalin cannily deconstructs the ways in which Leopold and Loeb’s homosexuality has been historically sensationalized and demonized—a provocative analogy for queer persecution in the AIDS era.
Director: Lucrecia Martel, DP: Barbara Alvarez
DP Barbara Alvarez imparts a restrained—and very strange—spatial texture to Lucrecia Martel’s excitingly splintered third feature, about a woman (a stunning María Onetto) in a state of phenomenological distress following a mysterious road accident. Martel’s rare gift for building social melodrama from sonic and spatial textures, behavioral nuances, and an unerringly brilliant sense of the joys, tensions, and endless reserves of suppressed emotion lurking within the familial structure is here pushed to another level of creative daring.
Director: Claire Denis, DP: Agnès Godard
Rich, strange, and tantalizingly enigmatic, Denis’s crypto-odyssey is a mesmeric sensory experience that haunts like a half-remembered dream. Inspired by a book by philosopher Jean-Luc Nancy, The Intruder skips across time and continents—from the Alpine wilds to a neon-lit Korea to a tropical Tahiti suffused with languorous melancholy—as it traces the journey of an inscrutable, ailing loner (Michel Subor) seeking a black market heart transplant and his long-lost son. An impressionist wash of hallucinations, memories, and dreams are borne along on the lush textures of Agnès Godard’s shimmering cinematography.
Dir: Claudia Llosa, DP: Natasha Braier
Fausta, the only daughter of an aged indigenous Peruvian mother, is said to have been nursed on “the milk of sorrow.” This accursed designation is bestowed on the children of victims of the former terrorist regime. Fausta has learned of her mother’s past and her own presupposed fate through invented song, which is both an art form and oral history tradition. Upon her mother’s death, she must venture beyond the safety of her uncle’s home and choose whether or not to lend her gift of song so that she can pay for a proper burial. Llosa and DP Natasha Braier capture the striking beauty of Lima’s outskirts, as well as a revelatory performance by Magaly Solier, with dignity and grace. Winner of the Golden Bear at the 2009 Berlin Film Festival.
Director: Desiree Akhavan, DP: Ashley Connor
Based on the celebrated novel by Emily M. Danforth, Desiree Akhavan’s second feature follows the titular character (Chloë Grace Moretz) in 1993 as she is sent to a gay conversion therapy center after getting caught with another girl on prom night. In the face of intolerance and denial, Cameron meets a group of fellow sinners, including amputee stoner Jane (Sasha Lane) and her friend Adam (Forrest Goodluck), a Lakota Two-Spirit. Together, this group forms an unlikely family with a will to fight. Akhavan and DP Ashley Connor evoke the emotional layers of Danforth’s novel with an effortless yet considered attention to the spirit of the ’90s and the audacious, moving performances of the ensemble cast.
Director: Nikolas Winding Refn, DP: Natasha Braier
Like a 21st-century Showgirls meets Suspiria, Nicolas Winding Refn’s delirious plunge into the fake plastic horror of the image-obsessed fashion industry trafficks in both high-camp excess and kaleidoscopically stylized splatter. Elle Fanning is the guileless recent L.A. transplant whose fresh-faced youth and beauty almost instantly land her a high-profile modeling contract. Whatever “it” is, she has it. And a coterie of monstrously jealous, flavor-of-last-month Hollyweird burnouts will stop at nothing to get it. Working in a supersaturated, electric day-glo palette, DP Natasha Braier fashions a sleek, freaky-seductive vision of L.A.’s dark side.
Director: Éric Rohmer, DP: Diane Baratier
At the age of 88, Éric Rohmer bid adieu to cinema with this enchanting mythological idyll, which brims with all the vitality and freshness of youth. Frequent Rohmer cinematographer Diane Baratier conjures a sun-dappled bucolic dream vision of fifth-century Gaul, where a beguiling fable of romantic misunderstanding plays out when a band of druids and nymphs intervene in the lovers’ quarrel between androgynously beautiful shepherd Celadon (Andy Gillet) and his jealous paramour Astrea (Stéphanie Crayencour). Introducing hitherto untapped themes of gender and sexual fluidity into his work, Rohmer crafts an exalted paean to love both spiritual and carnal.
Director: Alice Rohrwacher, DP: Hélène Louvart
Winner of the Grand Prix at the Cannes Film Festival, Alice Rohrwacher’s vivid story of teenage yearning and confusion revolves around a beekeeping family in rural central Italy: German-speaking father, Italian mother, four girls. Two unexpected arrivals prove disruptive, especially for the pensive oldest daughter, Gelsomina. The father takes in a troubled teenage boy as part of a welfare program, and a television crew shows up to enlist local farmers in a kitschy celebration of Etruscan culinary traditions (a slyly self-mocking Monica Bellucci plays the bewigged host). Hélène Louvart’s lensing combines a documentary attention to daily ritual with an evocative atmosphere of mystery to conjure a richly concrete world that is subject to the magical thinking of adolescence.
Director: Kiyoshi Kurosawa, DP: Akiko Ashizawa
What strange deceptions lurk beneath the placid veneer of the average Japanese family? Horror maestro Kiyoshi Kurosawa’s unexpected—but wholly rewarding—foray into family melodrama-cum-black comedy quivers with an undercurrent of dread as salaryman dad (Teruyuki Kagawa) loses his job and desperately attempts to maintain the illusion that he’s still employed; his grade-school son (Kai Inowaki) rebels by secretly taking (gasp!) piano lessons; and mom (Kyōko Koizumi) finds what she’s been looking for with her own kidnapper. The elegant long shots of Akiko Ashizawa toy with the meticulous framings of Ozu as Kurosawa guides the film through a series of increasingly audacious tonal shifts
Director: Céline Sciamma, DP: Crystel Fournier
A sensitive, heartrending portrait of what it feels like to grow up different, Céline Sciamma’s beautifully observed coming-of-age tale aches tenderly with the tangled confusion of childhood. When ten-year-old Laure’s family moves to a new neighborhood during the summer, the gender-nonconforming preteen (played by the impressively naturalistic Zoé Héran) takes the opportunity to present as Mickäel to the neighborhood kids—testing the waters of a new identity that neither friends nor family quite understand. Sciamma’s warmly empathetic tone is perfectly complemented by the soft-lit impressionism of Crystel Fournier’s glowing cinematography.
Director: Todd Haynes, DP: Maryse Alberti
The birth of Oscar Wilde; the staged death of a flamboyant rock star modeled closely after David Bowie; the delirious inebriation of London at the height of the glam era: Haynes’s discourse on celebrity culture is as sprawling and multi-tracked as his previous film, Safe, had been clinically restrained. Much of Velvet Goldmine, the story of a journalist who tries to reconstruct the sordid life story of the failed glam rock star he’d idolized as a young man, was shot in London, and the move gave Haynes a chance to abandon the cloister-like suburbs of his earlier films for a much more colorful, Dionysian milieu. Haynes and cinematographer Maryse Alberti crafted one of the most visually thrilling music movies of the 1990s.
Director: Manoel de Oliveira, DP: Sabine Lancelin
Manoel de Oliveira’s sly, metaphysical romance—made when the famously resilient director was a mere 102 years old—is a mesmerizing, beyond-the-grave rumination on love, mortality, and the power of images. On a rain-slicked night, village photographer Isaac (Ricardo Trêpa) is summoned by a wealthy family to take a picture of their beautiful, recently deceased daughter Angelica (Pilar López de Ayala). What ensues is a ghostly tale of romantic obsession as Isaac finds his dreams—and his photographs—haunted by the spirit of the bewitching young woman. The crisp chiaroscuro compositions of cinematographer Sabine Lancelin enhance the film’s otherworldly, unstuck-in-time aura.
Dir: Claire Denis, DP: Agnès Godard
Denis’s loose retelling of Billy Budd, set among a troop of Foreign Legionnaires stationed in the Gulf of Djibouti, is one of her finest films, an elemental story of misplaced longing and frustrated desire. Beneath a scorching sun, shirtless young men exercise to the strains of Benjamin Britten, under the watchful eye of Denis Lavant’s stone-faced officer Galoup, their obsessively ritualized movements simmering with barely suppressed violence. When a handsome recruit wins the favor of the regiment’s commander, cracks start to appear in Galoup’s fragile composure. In the tense, tightly disciplined atmosphere of military life, Denis found an ideal outlet for two career-long concerns: the quiet agony of repressing one’s emotions and the terror of finally letting loose. Image: REX/Shutterstock
Miss Universe winner is Catriona Gray, 24, from Philippines
Catriona Gray of the Philippines wins the 67th Miss Universe pageant The Miss Universe crown went to Catriona Gray from Philippines. Gray, 24, bested contestants from 93 other countries to capture the Miss Universe crown. The first runner-up was Tamaryn Green of South Africa and the third-place finisher was Sthefany Gutierrez of Venezuela. Was it the “lava walk” that helped crown Catriona Gray of the Philippines as the new Miss Universe? Just one day before Sunday’s final competition in Bangkok, Thailand, Gray won praise from model Tyra Banks, who described a video of Gray’s runway walk during a preliminary competition as “Pinoy Power to the Max!!!”
On Sunday, Gray, 24, bested contestants from 93 other countries to capture the Miss Universe crown.
The first runner-up was Tamaryn Green of South Africa and the third-place finisher was Sthefany Gutierrez of Venezuela.
Top 3 finalists from left, Miss Venezuela Sthefany Gutierrez, Miss South Africa Tamaryn Green, Miss Philippines Catriona Gray. (Associated Press)
Gray succeeds last year’s winner, Demi-Leigh Nel-Peters of South Africa.
The theme of the 67th Miss Universe pageant was “Empowered Women” and was judged by seven women including former pageant winners, businesswomen, and a fashion designer.
The emcee for Sunday evening’s festivities was comedian and game show host Steve Harvey.
According to website PhilStar Global , the evening contained a moment of humor when contestant Miss Costa Rica referred to an infamous Harvey faux pas from the 2015 Miss Universe pageant – when he announced the wrong contestant as having won that year’s title.
Miss Canada Marta Stepien gestures as host Steve Harvey greets her during the final of 67th Miss Universe competition in Bangkok, Thailand, Monday, Dec. 17, 2018.(Associated Press)
On Sunday, Harvey asked Miss Costa Rica – herself a TV host like Harvey – whether she had any professional advice for him.
She responded: “If they ever give you, like, a really, really, really important envelope, try to read carefully, OK?”
After the audience laughed, Harvey directed a remark at the crowd.
“You all thought that was funny,” he said. “You all just won’t let it go.”
The Associated Press contributed to this story. On Our Radar
People Are Re-Watching ‘American Pie’ and Realizing Something Awful
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In the good and holy year of 1999, a cinematic experienced graced movie screens involving a teenage boy and a precarious pie. The film was the epitome of teen raunch and late ’90s crudeness. It launched a hundred famous one-liners and made everyone look at flutes differently.
The movie in question is, of course, American Pie . In 1999, I was ten-years-old, and American Pie was absolutely forbidden to watch, which made it all the more intriguing. If you’re familiar with the comedy, you’ll know it’s ridiculous and gross nature.
But what you might not know, is that the film hasn’t exactly aged well. It’s nearly twenty-years-old, and there are of plenty of jokes and plot lines that are best left in 1999. Plus, there’s been a recent resurgence of people watching American Pie– and let me tell you, they are not happy with the blatant sexism , misogyny, lack of diversity and terrible jokes.
If you were to rewatch now, it’s very obvious that this is a movie that could not be made in 2018 . Advertisement
Woke dad alert.
This dad gets it. Also, can you imagine watching any of these movies with your dad? AWKWARD. Advertisement
Things were definitely different in the ’90s. Advertisement
Who knew this movie was still being talked about? Advertisement
There really are a LOT of sequels.
Hollywood loves milking franchises for all they’re worth. Advertisement
Some people are over the hot takes.
This person is over it. Advertisement
Some things just aren’t funny.
These movies are a particular brand of humor. Only certain types of people enjoy it. Advertisement
You are not alone, my friend.
In fact, many people agree with you. Advertisement
A ’90s sex comedy that is also depressing? Fun! Advertisement
One more time for the people in the back! Testosterone is not a qualifier. Advertisement
Is this the through-line of the entire franchise?
These movies are insane. Right? Advertisement
It’s honestly on TV all the time. Who agreed to those syndication terms?
Which is kind of hilarious, since it has to be so heavily censored. It has to be at least an hour shorter on the television. Advertisement
Some people still find it funny.
To each their own, I guess.
I’m personally wouldn’t like to watch a movie based on its few “moments” of hilarity. Advertisement
This movie isn’t the only thing that doesn’t hold up to today’s standards. Many other pieces of entertainment have similar qualities.
There are so many TV shows and movies that have cringe-worthy moments.
Like Friends. Advertisement
Let him play with a barbie, Ross!
This whole situation would not fly in 2018. Could you imagine the number of outraged parents?
No, thank you. Advertisement
Monica being shamed because of her weight as a teenager is an atrocity.
It’s so hard to overlook this storyline since it’s a runner throughout the series. It’s the worst. Advertisement
Leave Monica’s past self alone.
Jokes about someone’s weight are never funny. Advertisement
Moving on from, there are still other movies and TV shows that don’t hold up…
The ’80s were so weird. These two movies need to be officially retired. Advertisement
Just thinking about this racist casting is nauseating. Advertisement
Pretty much, yes.
You’ll notice that the Bond films are the MVP of sexist movies. They are so bad. Advertisement
WHO KEEPS ALLOWING THIS TO HAPPEN?
Someone make it stop. And yes, I agree– the Adam Sandler movies are awful. Advertisement
Every character should be Leslie Knope from Parks and Recreation . Advertisement
This one is bananas.
It’s a Wonderful Life is a fantastic movie, but Mary becoming an “old maid” is ridiculous. Advertisement
This is a very valid complaint.
And unfortunately, Hollywood doesn’t seem to be doing much better about it in 2018. Advertisement
AMEN TO THIS!
Being a lady is overrated, y’all. It’s starting to have more cons that pros. Advertisement
Can you imagine a world where movies aren’t sexist?
One day, maybe!
James Bond was the MVP of sexist movies.
Can we have a female or POC James Bond? Please! Advertisement
If you’re going to watch an old movie, it’s safe to assume it probably doesn’t hold up.
It’s better to know now rather than later. Advertisement
The children are the future!
May they create and enjoy better entertainment than generations before them. Advertisement
Ugh. I can’t even explain how much this irritates me. Advertisement
There are so many movies and TV shows that aren’t great.
But there are also so many amazing ones out there that aren’t racist, sexist and homophobic, and they’re just waiting to be picked for your next movie night.
Share this with your friend who still loves American Pie . Advertisement