By Ray Pride Pride@moviecitynews.com

Marie Claire’s Mehera Bonner Puts Up Her Dukes

“The thing is, I just don’t think Dunkirk is a very good movie—if your definition of the word movie is ‘moving images held together by a plot.’ It’s as if Christopher Nolan (sorry, “Nolan”) plucked out the war scene from a script, and was like ‘let’s just make this part extra long and call it a movie, lol.’ It’s so clearly designed for men to man-out over. And look, it’s not like I need every movie to have ‘strong female leads.’ To me, Dunkirk felt like an excuse for men to celebrate maleness—which apparently they don’t get to do enough. Fine, great, go forth.”
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Marie Claire’s Mehera Bonner Puts Up Her Dukes

2 Responses to “Marie Claire’s Mehera Bonner Puts Up Her Dukes”

  1. Mark R says:

    Commentary by yet another individual whom has never created a thing. Historically, the film reflects the reality of the event. Liberals will never be satisfied until all venues reflect the form of revisionist history that they approve of. As a retired military member who has always honored the contributions of all of my comrades, regardless of race, creed or sex, I find the criticisms of this film for its lack of “inclusiveness” as feckless and moronic, clearly reflecting the intellectual breath and character of their authors.

  2. Ray Pride says:

    Thanks for rising to the challenge of a risible article.

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“Ten years ago at Telluride, I said on a panel that theatrical distribution was dying. It seemed obvious to me. I was surprised how many in the audience violently objected: ‘People will always want to go to the movies!’ That’s true, but it’s also true that theatrical cinema as we once knew it has died. Theatrical cinema is now Event Cinema, just as theatrical plays and musical performances are Events. No one just goes to a movie. It’s a planned occasion. Four types of Event Cinema remain.
1. Spectacle (IMAX-style blockbusters)
2. Family (cartoon like features)
3. Horror (teen-driven), and
4. Film Club (formerly arthouse but now anything serious).

There are isolated pockets like black cinema, romcom, girl’s-night-out, seniors, teen gross-outs, but it’s primarily those four. Everything else is TV. Now I have to go back to episode five of ‘Looming Tower.'”
~ Paul Schrader

“Because of my relative candor on Twitter regarding why I quit my day job, my DMs have overflowed with similar stories from colleagues around the globe. These peeks behind the curtains of film festivals, venues, distributors and funding bodies weren’t pretty. Certain dismal patterns recurred (and resonated): Boards who don’t engage with or even understand their organization’s artistic mission and are insensitive to the diverse neighborhood in which their organization’s venue is located; incompetent founders and/or presidents who create only obstacles, never solutions; unduly empowered, Trumpian bean counters who chip away at the taste and experiences that make organizations’ cultural offerings special; expensive PR teams that don’t bring to the table a bare-minimum familiarity with the rich subcultural art form they’re half-heartedly peddling as “product”; nonprofit arts organizations for whom art now ranks as a distant-second goal behind profit.”
~ Eric Allen Hatch