Adjoa Andoh – ALLIANCE OF WOMEN FILM JOURNALISTS

BRIDGERTON Season Two – Review by Susan Granger

April 5, 2022April 7, 2022 Susan Granger Adjoa Andoh, Bridgerton Season Two, Jonathan Bailey, netflix, Phoebe Dynevor, Rege-Jean Page, Shonda Rhimes

When Bridgerton debuted in December, 2020, the Regency-era costume drama quickly became one of Netflix’s most popular shows, reaching 82 million households. Admittedly, its second season lacks the sexy spice of the first, focusing on far less interesting characters. Nevertheless, its Gossip Girl-meets-Downton Abbey concept is addictive for bingeing. Reimagining 19th century England, it once again focuses on aristocratic families seeking favor from Black royalty.

Reviews

BRIDGERTON – Review by Susan Granger

January 16, 2021January 22, 2021 Susan Granger Adjoa Andoh, bridgerton, Golda Rosheuvel, Julia Quinn, JULIE ANDREWS, netflix, Phoebe Dynevor, Rege-Jean Page, series, Shonda Rhimes

While Netflix’s Bridgerton sprawling mini-series may seem like Gossip Girl-meets-Downton Abbey, it’s unique in reimagining 19th century Britain with aristocratic families seeking favor from Black royalty. Produced by Shonda Rhimes, it’s fun, frothy escapism. According to showrunner Chris Van Dusen, regarding that era’s excess, beauty and decadence: “It was over-the-top: the costumes, the jewels, the glittering ballrooms, the country homes.”

Reviews

WOMEN MAKE FILM – Review by Diane Carson

June 13, 2020June 14, 2020 Diane Carson 0 Comments A New Road Movie Through Cinema, Adjoa Andoh, compilation films, Debra Winger, documetaries, female filmmakers, jane fonda, Kerry Fox, mark cousins, Shamila Tagore, Thandie Newton, tilda swinton, women make film

In Women Make Film, writer/director Mark Cousins has shouldered a monumental task. First, he promises A New Road Movie Through Cinema by looking “at film through the eyes of women filmmakers.” Second, he’ll accomplish this in forty chapters, not devoted to directors’ lives, not chronologically organized, and not exploring ways women are different from male filmmakers, though that emerges implicitly.