SPOTLIGHT AUGUST 2018: Emily Mortimer, Actress, Producer, Screenwriter and Loyal Feminist Colleague

emily_mortimer 018.tifEmily Mortimer’s new film, The Bookshop, releases theatrically this month, and she’s doing a lot of press. She is disarmingly charming. The the longer you speak with her, the more she seems to the quintessential English lady, one whose personality encompasses the casually polite and well-appointed elegance of a gal you might encounter on a commuter train from Oxford to Southhampton, along with the admirable qualities of stalwart Women’s Land Army volunteers who fed their country during World War II. Continue reading…

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I’LL SEE YOU IN MY DREAMS, EVERY SECRET THING, GOOD KILL, MAD MAX and PITCH PERFECT 2 – Reviews by Jennifer Merin

ill see you in my dreams posterI’ll See You in My Dreams is an upbeat femme-centric dramady about 70-something woman emjoying life. Every Secret Thing is a gripping femme-centric thriller, directed by Amy Berg and scripted by Nicole Holofcener. Good Kill is a hard-hitting military drama with strong female characters. Mad Max: Fury Road is the highly anticipated second coming of the epic post-apocalyptic blockbuster, and this one’s femme-centric. Pitch Perfect 2 is billed as a comedy — I say it’s a humiliation. Read the full reviews.

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Winners of the 2013 AWFJ EDA Awards!

The Alliance of Women Film Journalists is proud to announce the winners of its 8th Annual EDA Awards.

Steve McQueen’s “12 Years a Slave” was a clear winner with six total trophies: starting with Best Film, it swept the AWFJ EDA “Best of” categories with four awards; took another in the female-centric EDA Focus Awards; and earned its sixth win in the EDA Special Mention section.

Among the “BEST OF” EDA Awards—which parallel those conferred by other voting organizations—Cate Blanchett was honored as Best Actress for “Blue Jasmine,” and Matthew McConaughey earned Best Actor for “Dallas Buyer’s Club.”

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AWFJ Women On Film – The Week In Women, May 1, 2010 — MaryAnn Johanson

Botox, breast implants, and dye jobs: suddenly not what Hollywood wants?

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