At Salon‘s Broadsheet blog, Carol Lloyd is at a loss for the appropriate response to the Dakota Fanning Rape Extravaganza, or, as the more mature might call it, Deborah Kampmeier‘s second feature film, "Hounddog." Ted Baehr of the Christian Film & Television Commission has already issued a few inflammatory statements against the film to Scott Martelle at the LA Times. Lloyd writes:
What’s especially strange about these battles over young girls and sex is that we’re all supposed to line up on one side of the aisle or the other. I’m for freedom of speech, so films with child rape rule! I’m for Christian family values, so jail the freakin’ filmmakers! The reality is that most of us live in a netherworld of impulses tempered by principles (like a belief in artistic freedom). My impulse is not to worry about little Dakota’s future mental health and not to see the movie. Why? Another well-meaning and, yes, even feminist tale about a woman or a girl who gets raped means one more rape scene that I never needed to see.
The film will open at Sundance; Fanning’s agent has pretty much said what we are all thinking â€” it’s a hell of an Oscar bid.
So was "Sherrybaby," a film few have seen, but that’s managed to linger on the awards radar anyway, thanks to Maggie Gyllenhaal‘s performance. Lisa Rosen at the LA Times interviews her and asks about her fearless approach to sex scenes:
I think sex in movies can be a really great way of storytelling. I see a lot of sex scenes when people stop acting, and all of a sudden they’re doing soft-core porn. But if you think about your life, even with the worst sex, so much is happening, so many thoughts, so if you let that be true in a scene, I think a lot is communicated.
Plus, you don’t have to memorize any lines.
At The Age, Stephanie Bunbury tackles "Heading South," which she finds "in the sense that films reflect, if not life, then the way we talk about life…represents something new." According to director Laurent Cantet, that newness is in its representation of the sexual desires of middle-aged women. But Bunbury is more impressed by the way the film "bears witness to the flat reality of exchange between rich and poor in a global economy. It is the sheer ordinariness of the sex-for-money transaction that is breathtaking."
At the Guardian, Decca Aitkenhead talks to first-time actress Aiqin Lin, a 22-year-old illegal immigrant to the UK from China who landed the lead in documentarian Nick Broomfield‘s
first second narrative film, "Ghosts." And Chrissy Iley talks to first-time (in a film) actress Alicia Keys, who makes her big-screen debut in Joe Carnahan‘s "Smokin’ Aces."
And over at MSNBC, gossip columnist Jeannette Walls notes that Bettie Page is somewhat unimpressed with Gretchen Mol, the actress who played her in the Mary Harron-directed biopic "The Notorious Bettie Page."
â€œI thought she was real pretty, with those big eyes,â€ the reclusive 1950s pin-up tells the upcoming issue of Playboy magazine. â€œShe was good-looking, but the way she would screw up her face and all, I never did that. I didnâ€™t think her figure was too good. She was too tall, but she had a pretty face.â€
+ Child rape in the movies (Salon)
+ Sex and ‘SherryBaby’ (LA Times)
+ Women on top (The Age)
+ The Stowaway’s Story (Guardian)
+ ‘I was just waiting for my time’ (Guardian)
+ Hilary Swank was too cool for school (MSNBC)