Defining Feminist Film Criticism – Roxana Hadadi comments

I define feminism as advocacy and support for gender equality, in particular the dismantling of a patriarchal system is that can often be sexist, racist, and classist. How that applies to film criticism is approaching cinema as an institution that reflects the politics and viewpoints of a film’s creators, and then analyzing how women and men are represented in the film, how they are compared and contrasted, how their needs are demonstrated or met, how they interact.

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WIDOWS – Review by Diane Carson

Thematically and cinematically Widows is a fresh, creative take on the heist film, exactly what director Steve McQueen fans would expect. In 2013 he won three Oscars, including Best Motion Picture of the Year, for 12 Years a Slave, the first time in Academy Award history for such an honor to a black director/co-producer.

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WIDOWS – Review by Roxana Hadadi

Widows is about revenge and crime, yes, but primarily, it’s about power—who has it, who gets to wield it, who is protected by it, who is kept away from it. This was a concept that director Steve McQueen explored with 12 Years a Slave and that writer Gillian Flynn mines constantly in her novels (what is Gone Girl about if not a struggle for dominance in a modern marriage?), and together they create a portrait of complex power struggles, of lines of dominance criss crossing each other, of a fragile web that can unravel if even one strand is snapped.

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WIDOWS – Review by Susan Granger

Oscar-winning director Steve McQueen and co-writer Gillian Flynn have come up with a compelling crime caper that has more twists and turns than a corkscrew! Living in a luxurious penthouse on Chicago’s Lake Shore Drive, elegant, educated, union organizer Victoria Rawlings never paid much attention to her felonious husband’s shady business – until one of his robberies goes awry and she’s left a widow, along with the wives of his crew.

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WIDOWS – Review by MaryAnn Johanson

“This is not your world,” someone — a man — says to Veronica Rawlings in the aftermath of the death of her husband, Harry. The man is talking about the Chicago criminal underworld in which Harry was a very successful mover — until he no longer was — but he might as well be talking about the whole big wide world.

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