The Happy Housewife (Dutch: De gelukkige huisvrouw) is a 2010 Dutch-language film directed by Antoinette Beumer. It stars Carice van Houten as Lea, a housewife who has trouble adjusting to the birth of her son.
I was amazed at how many people it takes to make a movie and how good they all are at their jobs. It was interesting to watch everyone working together to film one scene. From the person who holds the mic (my arms hurt watching him) to the lady who was always checking the make-up, everyone worked together and knew when to keep quiet and stay out of the way.
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There is a lot of hurry up and wait. Being an extra in a film is no fun. The extras spent most of the day sitting around and waiting for the next shot. I think you need a lot of patience to be an extra.
These concerns were articulated in films which spanned the cultural map, from low-budget productions like The Perfect Woman and Easy Money to more prestigious productions such as A Town Like Alice and Madeleine.
Femininity in the Frame draws across a range of genres - war, comedy, science fiction, crime, social problems and key figures - the prostitute, the femme fatale, the incarcerated woman - to explore in depth how British popular film engaged with the new ideas and contradictory understandings of femininity that were surfacing in the 1950s.
Stay-at-Home Moms
This was also the era of the "happy homemaker." For young mothers in the 1950s, domesticity was idealized in the media, and women were encouraged to stay at home if the family could afford it. Women who chose to work when they didn't need the paycheck were often considered selfish, putting themselves before the needs of their family.
Decades of Childbearing
But even for happy homemakers, pressures were mounting. In a departure from previous generations, it was no longer acceptable for a wife to shut her husband out of the bedroom. Starting in the 1950s sex was viewed as a key component of a healthy and loving marriage. Without an effective female-controlled contraceptive, young wives faced three decades of childbearing before they reached menopause.
With hard work and determination, I graduated with honors in 1998. More important than that though, I also met my husband Ryan two weeks before school started our freshman year. It was love at first sight, and I was lucky enough to go through my 4 years of college with my best friend and soul mate. Ryan and I got married the summer after graduation, and thus started my life as a housewife!
However, the idea of a "happy wife, happy life" seems popular among audiences, especially when that trope hides something more sinister and secretive behind its meaning. Numerous (great) movies portray this, giving the phrase an entirely new meaning. Some have directly influenced Don't Worry, Darling, while others are slightly under the radar, but still excellent viewing material.
There's something strange in the town of Stepford. The men plot behind the curtains, and the women act like the perfect mothers, housewives and companions. However, one newcomer starts seeing things she shouldn't; the idyllic Stepford loses its facade and the truth is revealed. Without spoiling the film too much, there are heavy similarities between this and Don't Worry, Darling but the culmination is fairly different. The 1975 version is slightly better rated on IMDb, but the 2004 version was directed by Frank Oz and has an all-star cast.
One of David Fincher's most incredible achievements, and a stunning performance by Rosamund Pike as Amy, Gone Girl is not easily digestible. In this story, the "happy wife, happy life" trope gets dismantled by the wife itself. Amy's descent into plotting evil scenarios gets triggered by her husband's affair, yet some viewers can't help but cheer for her.
Darren Aronofsky's 'Mother!' truly isn't for everyone's taste in cinema. In this movie, Javier Bardem and Jennifer Lawrence star as a happy couple living outside the city, on what seems to be an idyllic farm in the country. Their marriage seems happy, wonderful and inspired; the Husband is an artist, and the Wife is the muse.
But, the ideal life that she imagined never stood a chance. When two strangers enter their home one night and don't seem to want to leave, life and fate intertwine in some of the most bizarre and symbol-bearing movie sequences. This movie made many people wonder what the point was, but if audiences in short learned that it was all about glorifying mother nature, God, and the environment - will it make more sense? In any case, this wife wasn't too happy about her married life, for sure.
Although Rosemary and Guy both have no clue what might be happening behind their back, Rosemary still gets taken aback by some actions her neighbors take. This film can't only be described as creepiness galore; it's also a psychologically strung-out depiction of a woman expecting a child, and trying her best to keep her future child safe. For audiences that enjoy horror movies about cults, Rosemary's Baby is quintessential.
A Simple Favor is a pretty interesting story involving a happy marriage, and obsession going too far. Stephanie (Anna Kendrick) a single mother with, seemingly, too much time on her hands befriends an upper-class socialite Emily (Blake Lively) whose life is shrouded in mystery. Emily's appeal can't seem to escape Stephanie, either, and she digs deeper into Emily's past and present to find out more.
But as Vane tries to be happy, and Angel descends into madness with every move she makes, it's hard for her to keep up the perfect life charade. Angel becomes aggressive and violent, and she has little choice later on. Although The Paramedic could have had more tension and excitement (considering its excellent storyline) it was a pretty great Spanish-language feature on Netflix.
Although Vivarium doesn't show any wives being happy and husbands being deceitful, it does show the dangers of living life in a mold. Sometimes, idyllic isn't pretty, and this stylish and visually beautiful sci-fi horror shows it best. It was even among the best horror movies of 2020.
This movie could be ruined in an attempt to explain it. Because it's very intertwined and contains a lot more than just bored and unhappy housewives, it's best to give it a shot. Most people's reaction after watching it was that it was twisted. Yet, despite its twisted nature, it's also an analysis of loneliness that doesn't leave viewers neutral by any means.
Anja Djuricic was born in Belgrade, Serbia in 1992. Her first interest in film started very early, as she learned to speak English by watching Disney animated movies (and many, many reruns). Anja soon became inspired to learn more foreign languages so she could watch more movies - so she entered Japanese language and literature Bachelor Studies at the University of Belgrade.
Besides her love of film, Anja often expresses herself through music; she's one of the founders of the DJ duo Vazda Garant, and they perform focusing on underground electronic music, influenced by the folks who pioneered dubstep, jungle, and drum'n'bass, to name a few.
Besides dedicating herself to these two art forms, Anja loves to do puzzles in her spare time, pet cats wherever she meets them, and play The Sims. Anja's Letterboxd four includes - Hot Fuzz, Snatch, The Bad Sleep Well, and Memories of Murder. Other favorites include The Wailing, Parasite, The Thing, and Evil Dead.
Stephen Frears's response to Woman in a Dressing Gown seems laughably inappropriate. Woman in a Dressing Gown is a drama that counterpoints two different kinds of women: if Georgie is the ideal of 1950s femininity, serene, sexually attractive and 'mature', then Amy Preston is its unacceptable face, scatty, scruffy and loud. The most useful touchstone for approaching Woman in a Dressing Gown as a 'proto-feminist' film is Betty Friedan's groundbreaking study of the disparity between the happy housewife image and the malaise and misery that lies beneath it, The Feminine Mystique. The Feminine Mystique often discusses and illuminates exactly the same problems that Woman in a Dressing Gown indirectly hints at or alludes to, through its presentation of the character of Amy. Throughout Woman in a Dressing Gown melodramatic tropes such as the use of lachrymose music are important.
In a world defined by the flow of people, goods and cultures, many contemporary French films explore the multicultural nature of today's France through language. In a cinematic landscape increasingly characterised by multiculturalism and linguistic diversity, a number of contemporary French films are beginning to represent multilingualism as a means of attaining and exerting social power. This book is the first substantial study of multilingual film in France. Unpacking the power dynamics at play in the dialogue of eight emblematic films, it argues that many contemporary French films take a new approach to language and power. The book begins in central Paris in Polisse and Entre les murs, then travels to the banlieue in Un prophete and Dheepan. It then heads to another culturally loaded but very different space with Welcome and La Graine et le mulet, whose border-crossing stories unfold in the port cities of Calais and Sete respectively. Then, in London River and Des hommes et des dieux, the book steps off French soil, travelling to the English capital and former French colony of Algeria. It explores characters whose lives are marked not only by France, but by former colonies, foreign countries and other European states. In its depiction of strategic code-switching in transcultural scenarios, contemporary French multilingual cinema shows the potential for symbolic power inherent in French, other dominant Western tongues, and many migrant and minority languages. The book offers a unique insight into the place of language and power in French cinema today. e24fc04721
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