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A cross-section of America's women talk about their socialization. Producers, directors, writers and editors, Julia Reichert, James Klein. Interviews with American girls ages 8 to 16 about their developing perceptions of the "ideal" American woman and their own self-perceptions and personal goals. Explores the culture of zines and this new generation of young women who are taking control of a corner of the media pie by self-publishing their own magazines. Directed by Kara Herold. Diaries, letters, photographs, and quilts are pieced together to tell a story of nineteenth century women from New England, the South, the Midwest, and the West.

I Was a Teenage Feminist: A Documentary About Redefining the F-word Armed with a video camera and an irreverent sense of humor, Therese probes diverse sources including Gloria Steinem, rowdy frat boys, a Cosmo-reading opera singer and even her own mother, to find out whether feminism can still be a source of personal and political power. Written and directed by Therese Shechter. Presents the stories of four highly accomplished, seriously disabled women whose sense of optimism, determination, self-acceptance, and self-worth have helped them cope with their handicaps. Also shows some of the advanced-technology devices that can assist disabled people.

American Women in the Spanish Civil War Focuses on sixteen of the 80 or so American women who joined the International Brigade volunteers from fifty countries who came to fight for democracy in Spain in The film's narrative includes the words of Dorothy Parker, Josephine Herbst and Virginia Cowles, as well as the articles and letters exchanged by Martha Gellhorn and Eleanor Roosevelt during the war. The women's hearbreak at the refusal of the democracies including the U. Directed by Julia Newman. A Documentary About Social Bullying An inside look at the tumultuous relationships of a clique of popular year-old girls.

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His character is quiet and mysterious, and he expresses this enigmatic role perfectly with every silence, every facial gesture, every tone of voice. That's another element that I loved. Soderbergh expresses to his audience that people don't always mean what they say. And you can tell by every hint of body language. During these character interplays, you get a feel for what the characters are really thinking with their every subtle nuance. And that's what creates most of the film's tension. And of course, the film has great depth and treats its subject with the greatest of maturity.

In one scene, Spader interviews this young woman who talks about her first experience with masturbation. That could've easily been transformed into something gratuitous and heavy-handed. The subjects of sex and infidelity are treated with a sense of reality, and I'm sure many couples who are involved in relationships where one of the mates are cheating will find the whole situation with Andie McDowell and Peter Gallagher haunting. Everything is low-key and some might find the rhythm slow-moving, but that's what I liked about it.

It slowly unfolds and takes its time developing the characters and their situations. Many filmmakers would've taken the subject of infidelity and made it into a melodramatic soap. But Soderbergh is very patient. He never once thinks, "Maybe the audience is not interested anymore," and speeds things up.

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