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Valery Shashkov
Valery Shashkov

Mature Lady Films



András Vayda (Tom Berenger) grows up in a turbulent, war-torn Hungary, where he procures local girls for the occupying G.I.s during World War II. Disappointed by the girls his age, he meets Maya (Karen Black), a married woman in her 30s, who tutors him in love and romance. Maya is only the first of many mature women whom András will meet through his teenage and young adult life.




mature lady films



Even in this early scene, it is Eliza's will that drives the plot; Higgins might have tinkered forever with his phonetic alphabet and his recording devices if Eliza hadn't insisted on action. She took seriously his boast the night before, in Covent Garden: "You see this creature with her curbstone English? The English that will keep her in the gutter till the end of her days? Well, sir, in six months, I could pass her off as a duchess at an Embassy Ball. I could even get her a job as a lady's maid or a shop assistant, which requires better English." The final twist, typical Shavian paradox, is what Eliza hears, and it supplies her inspiration: "I want to be a lady in a flower shop instead of sellin' at the corner of Tottenham Court Road. But they won't take me unless I can talk more genteel."


That Hepburn did not do her own singing obscures her triumph, which is that she did her own acting. "My Fair Lady," with its dialogue drawn from Shaw, was trickier and more challenging than most other stage musicals; the dialogue not only incorporated Shavian theory, wit and ideology, but required Eliza to master a transition from Cockney to the Queen's English. All of this Hepburn does flawlessly and with heedless confidence, in a performance that contains great passion. Consider the scenes where she finally explodes at Higgins' misogynist disregard, returns to the streets of Covent Garden, and finds she fits in nowhere. "I sold flowers," she tells Henry late in their crisis. "I didn't sell myself. Now you've made a lady of me, I'm not fit to sell anything else."


It is typical of Shaw, admirable of Lerner and Loewe, and remarkable of Hollywood, that the film stays true to the original material, and Higgins doesn't cave in during a soppy rewritten "happy ending." Astonished that the ungrateful Eliza has stalked out of his home, Higgins asks in a song, "Why can't a woman be more like a man?" He tracks her to her mother's house, where the aristocratic Mrs. Higgins (Gladys Cooper) orders him to behave himself. "What?" he asks his mother. "Do you mean to say that I'm to put on my Sunday manners for this thing that I created out of the squashed cabbage leaves of Covent Garden?" Yes, she does. Higgins realizes he loves Eliza, but even in the play's famous last line he perseveres as a defiant bachelor: "Eliza? Where the devil are my slippers?" It remains an open question for me, at the final curtain, whether Eliza stays to listen to what he says next.


Compared to the opening weekends for the previous three films in theOcean's franchise which were releasedfrom 2001 to 2007, 8 scored the highestin gross, but the lowest in terms of tickets sold. All four openings fellwithin the $36-42M range so they were not too far from each other. Theprevious installment in the series, Ocean's Thirteen,launched on the exact same date 11 years ago.


The new Warner Bros. film features Bullock as the sister of George Clooney'sDanny Ocean character from the prior films. She assembles an all-femalecrew to steal a $150M diamond necklace from the annual Met Gala. Co-starsin the PG-13 project included Cate Blanchett, Anne Hathaway, Helena BonhamCarter, Mindy Kaling, and Rihanna.


Reviews were generally upbeat and audiences polled by CinemaScore gavea decent B+ grade. Studio data showed that the crowd was 69% female and69% over 25. The summer box office is always heavy on testosterone filmsand this year has been no different. Ocean's 8provided counter-programming for adult women not interested in comic bookmovies and instead relied upon ample celebrity starpower to pull in thecrowds. Though some heavy hitters like Incredibles2 and Jurassic World: Fallen Kingdomare right around the corner and will attract every quadrant of movie fans,8 still has limited competition over the next month from filmsspecifically geared towards mature women so the road ahead looks good.


Overseas markets are not helping Solo.The brand has always seen international markets contribute a lower shareof the global gross compared to most action movie franchises. But the youngerHan pic is fading fast from a rough start and dropped 63% this weekendto only $11.3M for an offshore total of just $136.1M. Global is now $312.2Mand hitting $400M may not happen. Solowill probably end its global run below films like TheMummy, Terminator Genisys,and Warcraft.


The top ten films grossed an estimated $106.9M which was down 22% fromlast year when Wonder Woman stayedat number one with $58.5M; and down 23% from 2016 when TheConjuring 2 debuted in the top spot with$40.4M.


Depraved mature blonde bitch Aimee and her bald hot husband Peter make a movie for lovers of spicy sex! Don't take bad things from your step mommy and ! Just learn from them fucking! )) Cowgirl, dogging, blowjob & wild moans of mature whore


I'm pulling my slutwife hard by her big nipples! I've got you on a tight leash now, my sweet bitch! All women are whores! And married women are even more so! Creampie, blowjob, dogging ckoseup! You won't get bored with my mature girl!


And yet, while women have been a guiding force behind the camera since the artform began, they often don't end up on lists of auteurs or blockbuster superstars. Let's change that. These are the 20 female filmmakers who have had the biggest impact on movie-making. Their films are not restricted by subject matter, budget, or audience. They are not inherently feminist. They are definitely not meant to be judged against each other. They're just really good films from game-changing directors. Sometimes, the only way to recognize someone's contributions is to do so loudly, and to do it often.


Not only is Alice Guy-Blaché the first female director, she is one of, if not the, first person to use film to tell a narrative story. Guy-Blaché made her first film, "La Fée aux choux" (which translates to "The Cabbage Fairy"), in 1896. There is some dispute about whether her film or the Lumiere brothers' "L'Arroseur arrosé" came first, but Guy was a pioneer nonetheless. She started as a secretary for an inventor named Léon Gaumont and, after directing and acting in a few films, was promoted to head of film production at his company. According to The New York Times, she produced about 1,000 films. She was the first woman to create and run a film studio. And if those aren't enough reasons to justify a splashy Alice Guy-Blaché biopic, she also fell in love with and married one of her cameramen, Herbert Blaché,


Skipping ahead several decades, Agnés Varda's films "Le Bonheur," "Cléo from 5 to 7" and "Vagabond" often show up on lists of essential films from female directors, and for good reason. Varda's work manages to employ realism while experimenting with both form and genre. It also has strong social messages. Because of Varda's background in photography, she established a distinct visual style and often uses still images in her storytelling. She was the first woman to receive an honorary Palme d'Or at the Cannes Film Festival, and to this day, she is the only woman to receive an honorary Oscar for directing. At the Telluride Film Festival in 2019, a few months after Varda passed away, Martin Scorcese called her a "God of Cinema."


Penny Marshall originally started as an actress, known best for playing the first half of "Laverne and Shirley," but her biggest contributions to cinema might've come in terms of box office receipts and classic movie moments. Marshall's "Big" grossed over $100 million domestically, the first film from a female director to do so. "A League Of Their Own" has been inducted into the Library of Congress' National Film Registry, and also crossed $100 million at the box office. While her films are often regarded as "feel good," a phrase which sometimes holds a negative or frivolous connotation, they stuck with audiences. No montage of major moments in Hollywood is complete without Tom Hanks playing "Heart and Soul" in "Big" or shouting, "There's no crying in baseball!"


Jane Campion's female protagonists are complex. They are outsiders. They are not what you're used to seeing in film. Over the years, critics have described her heroines in terms as innocuous as "quirky," as respectful as "resilient," and as damning as "lunatic." Her films cover multiple genres: "Bright Star" and the Palm D'Or-winning "The Piano" blend romance and dramedy; "In The Cut" and the miniseries "Top Of The Lake" are crime thrillers.


Lucrecia Martel is largely considered one of the best working directors in world cinema, and she has a singular voice as an artist and a filmmaker. Many books have been written on the way she has captured social issues, indigenous cultures, female identity, sexuality, colonialism, and nationalism and oppression in both narrative and documentary films.


Until 2021, Katherine Bigelow was the only woman to be awarded Best Director at the Oscars, and was additionally the first woman to direct a Best Picture winner. While that statistic is depressing, it should not overshadow Bigelow's contributions to film. TIME Magazine voted her one of the most influential people of the year in 2010 for the way she examined the Iraq War in "The Hurt Locker." With films like "The Hurt Locker" as well as "Point Break" and "Zero Dark Thirty" on her resume, Bigelow has made a name for herself deconstructing masculinity and violence as well as American society's obsession with both.


In 1991, "Daughters of the Dust" became the first feature directed by an African American woman to get a wide theatrical release in the United States. Dash was part of the "L.A. Rebellion," a group of Black film school graduates who made alternative films. "Daughters of the Dust" also happens to be a masterpiece; like "A League Of Their Own," "The Matrix," and "The Hurt Locker," its listed in the National Film Registry for its cultural and aesthetic significance. The film tells the story of a family that lives off the coast of South Carolina, and that considers moving to the mainland, debating what could be lost along the way. 041b061a72


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