Through sheer volume and reach, TIFF has become an ongoing reminder of the talent Hollywood is failing to capture — changing the question from ‘Where are the women?’ to ‘Why aren’t you hiring any of these women?’
This year’s festival offered 58 chances to see the latest in femme-centric filmmaking
So Hollywood is dead because you’re just too cheap to pay for it? Hardly. If the popularity of Netflix is anything to judge by, users are happy to pay for content they deem to be fairly priced and worthwhile. … In regards to Hollywood’s current summer slate, customers voted with their wallets.
Hollywood is killing Hollywood
Bacall recalls that her husband’s arm and hand were “swollen to four times their normal size” and a “terrible black thing [was placed] in his mouth to keep him from swallowing his tongue.” As she observed him, “he looked so unlike Bogie — still mercifully unconscious… enclosed in another world, protected not by me, but by those raised bedsides, with those bottles and tubes sustaining life.”
In reality, no single breakthrough will ever break the norm. What it really takes is many smaller advancements coalescing into a larger movement. It’s only when we see distinct and palpable change in Hollywood’s subtler bad habits that we’ll know progress is truly being made.
If these changes happen, then we’ll know Hollywood is finally moving in the right direction
Hollywood can’t know audiences want something different if we don’t show that desire. We’ve reached the point that it will take effort to fight the blockbuster rabbit hole. It will continue getting harder to find anything diverse at the theater, and on shelves, if we don’t make the effort to see them when they come out now.
It’s easy to succumb to Hollywood’s multimillion marketing campaigns — but cinephiles need to resist
If studios succeed by making bad movies, other studios will follow suit. Social media buzz becomes more important to Hollywood every year, and it won’t take many more Sharknados before studios, filmmakers, and writers race to the bottom, creating terrible lowbrow art for the sake of irony (the one thing that we do not need more of these days).
Besson dismantles the idea that superheroes are all regular people with the same human impulses we have. As Lucy evolves, each move forward differentiates her because she’s no longer a typical human being. She experiences the world differently and ceases to relate to her old self.
By questioning the very humanity of its protagonist, Lucy shows the limitations of Hollywood’s favorite genre — and points to a new direction going forward
There are more prominent black films coming out now than were as recently as five years ago, but they’re not particularly original, or telling particularly ambitious stories. They’re repackaging stories considered rote by the modern moviegoing audience with the intentions of revitalizing them via the draw of unfamiliar casting — which is to say, non-white.
It is just the most recent example of a troubling trend toward homogenization