Netflix’s “Glow” arrives at a time when women who step inside the squared circle are taken much more seriously than they were 30 years ago.
The show re-creates the world of the Gorgeous Ladies of Wrestling, the campy all-female promotion whose 1980s heyday is fictionalized in the new series starring Alison Brie. Fittingly, its subject helped start that process three decades ago.
Last weekend’s Money in the Bank pay-per-view was emblematic of the current state of women’s wrestling in WWE, both in terms of how far it’s come and how much further it still has to go. On the one hand, it featured the first-ever women’s Money in the Bank ladder match (progress!), which guarantees the winner a championship match at the time of her choosing. On the other hand, it ended when a dude named James Ellsworth ascended the ladder and dropped the briefcase down...
The show re-creates the world of the Gorgeous Ladies of Wrestling, the campy all-female promotion whose 1980s heyday is fictionalized in the new series starring Alison Brie. Fittingly, its subject helped start that process three decades ago.
Last weekend’s Money in the Bank pay-per-view was emblematic of the current state of women’s wrestling in WWE, both in terms of how far it’s come and how much further it still has to go. On the one hand, it featured the first-ever women’s Money in the Bank ladder match (progress!), which guarantees the winner a championship match at the time of her choosing. On the other hand, it ended when a dude named James Ellsworth ascended the ladder and dropped the briefcase down...
- 6/23/2017
- by Michael Nordine
- Indiewire
At this year’s Berlin Film Festival, Mark Lee Ping-Bing’s photography in Yang Chao’s “Crosscurrent” won the Silver Bear for Outstanding Artistic Contribution for Cinematography. The film follows Gao Chun (Qin Hao), who takes over his family’s courier ship and travels up the Yangtze River to deliver some cargo. At different ports, he comes across the beautiful prostitute An Lu (Xin Zhilei) in various identities and ages, and begins to wonder if she’s part of the supernatural or if he’s traveling through time. Watch a trailer for the film below.
Read More: Mark Lee Ping-Bing’s Layered and Luminous Cinematography Shows the Power Of Minimalism
Lee is best known for working with such acclaimed directors like Wong Kar-Wai and Hou Hsiao-Hsien. He received the Grand Technical Prize at the Cannes Film Festival for his photography in “In the Mood for Love.” His most recent...
Read More: Mark Lee Ping-Bing’s Layered and Luminous Cinematography Shows the Power Of Minimalism
Lee is best known for working with such acclaimed directors like Wong Kar-Wai and Hou Hsiao-Hsien. He received the Grand Technical Prize at the Cannes Film Festival for his photography in “In the Mood for Love.” His most recent...
- 10/24/2016
- by Vikram Murthi
- Indiewire
When I met Canadian director Juliet Lammers during the Hot Springs Documentary Film Festival – where we served together on a sprawling panel – her film Last Woman Standing, which made the Hot Docs 2013 Netflix Audience Award top five, wasn’t even on my radar. But it certainly should have been. Co-directed by Lammers and Lorraine Price, Last Woman Standing is more than a riveting sports flick (though it’s that as well). Unique in approach, the doc focuses just as much on the relationship rift between Ariane Fortin and Mary Spencer, two of the world’s best boxers, as it does […]...
- 1/27/2014
- by Lauren Wissot
- Filmmaker Magazine - Blog
When I met Canadian director Juliet Lammers during the Hot Springs Documentary Film Festival – where we served together on a sprawling panel – her film Last Woman Standing, which made the Hot Docs 2013 Netflix Audience Award top five, wasn’t even on my radar. But it certainly should have been. Co-directed by Lammers and Lorraine Price, Last Woman Standing is more than a riveting sports flick (though it’s that as well). Unique in approach, the doc focuses just as much on the relationship rift between Ariane Fortin and Mary Spencer, two of the world’s best boxers, as it does […]...
- 1/27/2014
- by Lauren Wissot
- Filmmaker Magazine-Director Interviews
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