Starring Ashleigh Sumner, Jill Bennett,and Cathy DeBuono, and directed by Ellen Seidler and Megan Siler, it plays out like a twisty, lighter Run Lola Run with a massive dose of queerness.
Lola (Sumner) is a laid back photographer who’s on the verge of a romantic breakthrough with her new girlfriend, Casey (Bennett), who is the straitlaced Bert to Lola’s Ernie. As the film begins, we witness a fantastic sex scene between the two dissolve into a dream, as Lola’s phone interrupts her reverie. It’s Casey, and she needs Lola to pick up a set of all-important prints for a crucial business meeting with Danielle (DeBuono), who also happens to be Casey’s ex-girlfriend.
Lola runs out the door — quite literally — and encounters a tragic-comedy of obstacles keeping her from being punctual the one time she needs to be.
What follows is part Run Lola Run and part Groundhog Day. Lola encounters everything from her ex, to a feisty meter maid, an angry dog, a runaway subway car and the very possessive Danielle on her way to Casey’s aid. If this doesn’t sound frantic enough, keep in mind that the events have a way of occurring multiple times, with several outcomes — and that the filmmakers use a wild variety of cinematic techniques to keep things moving and shaking.
Lola breaks into animated sequences every so often, depicting an exaggerated version of the live action Lola’s hilariously bad luck. These little flights of whimsy are charming and cute, if a little jarring. There is also plenty of “from the couch” footage taken of the various characters talking about their feelings, their sex lives and their relationships, all under the guise of being in therapy.
Finally, Lola’s inner thoughts are presented via photographic montages (she is a photographer, after all), with great comic effect. In one scene, after being shunned by a saucy meter maid, she imagines a series of pictures showing Lola as a dominatrix, getting her revenge on the suddenly submissive meter maid.
These sequences are among the very best in the film — they’re funny, campy and wildly imaginative.
Played Bound so many times the picture runs in slow mo? Look no further than the British TV series Bad Girls (Shed Productions).
Bad Girls is a raw and confronting women’s prison drama set inside the walls of HMP Larkhall. It’s like a pommie version of Prisoner — only better because the lesbian themes and identities are overt.
The series first screened in the UK in 1999 and ran for eight seasons finishing up in 2006. While it’s not a new series, Bad Girls certainly didn’t receive the media attention in Australia that The L Word has enjoyed.
This is a shame. In many ways the story lines explored in Bad Girls are more complex and sensitive than The L Word. From series one the viewer is introduced to a range of shocking scenes and stories. We’re introduced to a rebellious tomboy lesbian Denny Blood (Alicya Eyo) who has a crush on drug dealer, Shell Dockley (Debra Stephenson). A woman has a miscarriage in her cell and Nikki Wade (Mandana Jones) the lipstick lesbian is stripped searched.
Other themes and issues addressed throughout the series include a heroin junkie’s battle with addiction, sexual abuse, domestic violence, bigamy, homophobia, love between inmates and prison staff, women being separated from their children and a gay governor’s difficulties being out at work.
It’s not all doom and gloom though. The script is punchy and flows with that unique British wit, slang and sarcasm. There’s as much warmth and accidental comedy as tragedy. The range of lesbian identities and strong female characters is broad and shows a diversity of relationships among women, both in friendship and love.
The central romantic relationship between Nikki Wade, a prisoner serving a life sentence, and newly graduated wing governor, Helen Stewart (Simone Lahbib), is beautiful and a highlight of series one to three.
Other central women characters include the amusing Sylvia Hollamby (Helen Fraser), an old-school cynical civil servant who believes in punishment not rehabilitation. And one of the most impressive acting performances comes from The Top Dog gangster moll turned mother figure, Yvonne Atkins, played by Linda Henry. Series five teases us with Atkins becoming the centre of attraction for two women.
Apart from Jim Fenner the misogynist prison guard, the other dominant male character is Neil Grayling (series four, James Gaddas). Grayling is a gay Governing Governor who can’t come out at work and concocts a fake marriage to the desperate and dateless prison guard Di Barker (Tracy Wilkinson). This plot line drags on for too long and becomes frustrating!
Bad Girls isn’t marketed as lesbian television. Its reported success in the UK is because of its attraction to a broad audience. As the series progress some of the confronting subject matter does fade.
That aside, I’m a huge fan and try to use the term ‘stupid cow’ and laugh like Dockley as much as possible. The dialogue is engaging, the acting performances convincing and there’s loads of eye candy.
Narky : annoyed, pissed off Banged up : locked in prison cells Bodybag : character Sylvia Hollamby Crotched : to hide drugs in the vagina Gob : as in ‘shut yer gob’, please be quiet Sod ya : stuff you, bugger you, screw you, go away Dellies : tranquilisers Threes : level 3 of G wing; G3 is the name of a London lesbian magazine taken from the fact that most of the women on the threes are lesbians.
Lohan Clears the Air on Air with Ellen Lindsay Lohan appeared on Ellen recently where Ellen tells Lohan that in case she had not noticed, there’s a lot going on with her.
Naomi, the brilliant and pious daughter of an ultra orthodox rabbi finds herself at a crossroads of life choices when her mother dies and she is expected to immediately marry her father's prodigy.
Distressed yet determined, she begs that her father allow her one year to study at a women's religious seminary in Safed, the birthplace of the Kabala in order to prepare herself for the sacrifices she will make as a wife. Her father relents and Naomi's life begins to take an unexpected turn.
Devote but lively, Naomi and her new friend Michelle befriend a beautiful, mysterious older woman, Anouk, (Fanny Ardant) who is ill and living nearby who may or may not be Jewish, and may have committed a crime of passion. Naomi devises a series of rituals which will somehow “purify” Anouk and purge her of her sins, but as these stretch the borders of Jewish law they must be kept secret. Eventually this journey into the forbidden leads to a growing attraction between the two girls and more crossroads are faced. Read More
The Secrets presents the complexities of a religious lifestyle in a vibrant environment of youth, rebellion and desire.
“The Secrets is proof again that lesbian drama can be done beautifully and poignantly. “The Secrets” is a layered, rich and rewarding film from any standpoint. It's a beautiful film, and it's very much alive.” - AfterEllen.com
“One of the best Israeli films of recent years, the Secrets, is an emotionally overpowering drama that will move audiences wherever it plays. The film's mix of sensuality and spirituality is arresting. Both of the young actresses are luminous(and) Ardant gives one of her strongest performances.” – The Hollywood Reporter
“Intriguing… passionate performances.” – The New York Times
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