LWLies 84: The Promising Young Woman Issue
Being angry is exhausting. It saps your time, your energy, your resources – it eats away at you until all that’s left is a vibrating husk of barely-concealed rage. I’ve been so angry for so long at so many injustices that blight our society, it’s often difficult for me to really get a handle on that all-consuming wrath, and more importantly, channel it into something more productive than impotently raging at the general machine. It’s some 30 years since John Lyndon shouted “Anger is an energy!” in Public Image Ltd’s ‘Rise’, but the sentiment remains. As cathartic as a primal scream can be, I’m all for finding ways to harness my disgust at the current world order for good.
Even before I joined team LWLies, I really believed in its strapline: ‘Truth & Movies’. That’s what we strive for here, and I strongly feel our latest issue, celebrating Emerald Fennell’s incendiary feature debut Promising Young Woman, reflects this editorial aim. It’s not often we get to showcase a debut feature (the last one was Mike Cahill’s Another Earth) but we’re excited to be championing Fennell’s fiercely original film, which feels particularly pertinent given the fraught cultural moment we’re living in.
In Promising Young Woman, Carey Mulligan is a woman driven to take drastic action relating to an “incident” that occurred some years previous during her time at medical school. It’s hard to ignore the relevance of Fennell’s film to the ongoing movements around #MeToo and Time’s Up, but conversations around female trauma at the hands of a male-dominated society didn’t start with these movements and won’t end with them either. Fennell’s pitch-black comedy is hard to stomach at times, but a piercing, vital addition to the growing canon of films that allow women to speak for themselves rather than through the gaze of men.
On the cover
We reached out to Belfast-based illustrator Laura Callaghan to provide our cover and endpapers, and she definitely delivered. Her hand-painted portrait of Carey Mulligan as femme fatale Cassie Thomas certainly packs a punch. We previously featured Carey on the cover back in 2009 for An Education. She joins the illustrious ranks of Robert Pattinson and Joaquin Phoenix in our Two Covers Club.
作者簡介:
本刊是專門報導電影的雙月刊,以深入的筆觸探討電影與觀眾之間的微妙互動。其中包括影評、文化探討以及電影人的動態時事。本刊曾經榮獲雜誌設計大獎,無論排版或美編都屬上乘,是喜歡電影的影迷不可或缺的讀物。
LWLies 84: The Promising Young Woman Issue
Being angry is exhausting. It saps your time, your energy, your resources – it eats away at you until all that’s left is a vibrating husk of barely-concealed rage. I’ve been so angry for so long at so many injustices that blight our society, it’s often difficult for me to really get a handle on that all-consuming wrath, and more importantly, channel it into something more productive than impotently raging at the general machine. It’s some 30 years since John Lyndon shouted “Anger is an energy!” in Public Image Ltd’s ‘Rise’, but the sentiment remains. As cathartic as a primal scream can be, I’m all for finding ways to harness my disgust at the current world order for good.
Even before I joined team LWLies, I really believed in its strapline: ‘Truth & Movies’. That’s what we strive for here, and I strongly feel our latest issue, celebrating Emerald Fennell’s incendiary feature debut Promising Young Woman, reflects this editorial aim. It’s not often we get to showcase a debut feature (the last one was Mike Cahill’s Another Earth) but we’re excited to be championing Fennell’s fiercely original film, which feels particularly pertinent given the fraught cultural moment we’re living in.
In Promising Young Woman, Carey Mulligan is a woman driven to take drastic action relating to an “incident” that occurred some years previous during her time at medical school. It’s hard to ignore the relevance of Fennell’s film to the ongoing movements around #MeToo and Time’s Up, but conversations around female trauma at the hands of a male-dominated society didn’t start with these movements and won’t end with them either. Fennell’s pitch-black comedy is hard to stomach at times, but a piercing, vital addition to the growing canon of films that allow women to speak for themselves rather than through the gaze of men.
On the cover
We reached out to Belfast-based illustrator Laura Callaghan to provide our cover and endpapers, and she definitely delivered. Her hand-painted portrait of Carey Mulligan as femme fatale Cassie Thomas certainly packs a punch. We previously featured Carey on the cover back in 2009 for An Education. She joins the illustrious ranks of Robert Pattinson and Joaquin Phoenix in our Two Covers Club.
作者簡介:
本刊是專門報導電影的雙月刊,以深入的筆觸探討電影與觀眾之間的微妙互動。其中包括影評、文化探討以及電影人的動態時事。本刊曾經榮獲雜誌設計大獎,無論排版或美編都屬上乘,是喜歡電影的影迷不可或缺的讀物。
※ 二手徵求後,有綁定line通知的讀者,
該二手書結帳減5元。(減5元可累加)
請在手機上開啟Line應用程式,點選搜尋欄位旁的掃描圖示
即可掃描此ORcode
|
||||||||||||||||||
|
||||||||||||||||||
|