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Whenever Karen passes checkpoint towards town, Schäkert one of guards with her. But what ZURÜCKSCHÄKERNBETRIFFT is, whim of narrow woman with accurate pony of DerTagesform depends. Karen is a lot: in a dystopian überbevölkertenZukunft, in which only one-child families are allowed, she is a vonsieben secretly by her late far (William Dafoe) Großgezogenenidentischen multiples.
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The protagonists in Tommy Wirkolas thriller Whateverhappened to Monday? Live strictly according to Papa’s plan: Depending on first name, Dürfensie only one day a week from Hermetic Attic apartment in world. There external only by nuances UnterscheidbarenSchwestern Monday, Tuesday, Wednesday, Thursday, Friday, Saturday and SundaySettman each assume identity of “Karen Settman” (Naomi Rapace in all seven roles), so as not to be discovered by authorities and To be wiped out. Bisdie title giving Monday suddenly no longer comes home. In an attempt to get behind cause of disappearance, six Verbliebeneneine violence escalate and have to kill an entire armada of Angreifernverprügeln and killing. Action cinema level.
But, wait, isn’t anything else different? Does such films not mean: Men beat, women connect? The action film, dersiched generically from black-and-white entertainment films of silent film era, in which foolhardy heroes perform daring stunts, anWolkenkratzeruhren hanging and balancing on high-tech sites, was always clear in this respect. Later, in action film-affine 1960s and 1970s, in heroes, although more colourful and more powerful, shared unterschiedlicheGenres like Western, sci-fi and war film, had, depending on literary submission, always guaranteed license to beat, usually The zumSchießen, sometimes even those to kill. The girl, however, Loveinterest, which was waiting for hero at end of every thrilling hetero adventure – for example a cool but pretty colleague, a counter-player who was eliminate to be ensnared, or valiant helper who cares for maltreated hero Body and Desire discovered – in GenredefinierendenKampf sequences seldom did tender hands get dirty (or even bloody).
Cinema» What happened to Monday? « (trailer) © Photo: Splendid Film GmbH
There were few exceptions that had been dramaturgically prepared in respective film and had to verkuppeltwerden morally with hand-held motives and constituted drumbeat of history. Like QuäkerinAmy, played by Grace Kelly, 1953 in High Noon opposes ihrerÜberzeugungen weapon against a bandit to save her husband, Marshall (Gary Cooper), a scene that Thomas Arslan quoted 60 years later in his Western gold, in which Nina Hoss When Emily has to fend off rifle to survive. Or like heroine-short-lived Blaxploitation cinema of 1970s, Cleopatra Jones or FoxyBrown. Especially Pam Griers figure of Foxy Brown, who avenges himself in eponymous classic, staged by Jack Hill 1974, to DemütigendenMissbrauchserfahrungen on her tormentors by lighting her, and mastermind behind deeds that for death of her friend Responsible, unceremoniously (and not in picture) castrated, male colleagues are invaluable to brutality in nothingness.
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The Blaxploitation genre, however, remained in a cult niche. And neir his fearless revenge Angels Jones and Brown nor Quaker Amy, German cowgirl Emily, Marvels Black Widow or once as weiblichesPendant to James Bond conceived, deep cool and fashionable enormously BeeindruckendeFreizeit-agent Modesty Blaise, whose history in cinema unfortunately Nurzaghaft until today, were jederartig extremely staged in ir action-critical liberation strikes as Naomi Rapace as Settmann-multiplying in Wirkolaselegant choreographed, but narratively thinner fighting spree. With Einerähnlich derb-sensual violence aestic, new US-ActionikoneCharlize Theron is still active at cinema. The rudeness of this action spectacle, David LeitchsComic-adaptation Atomic Blonde, is tempered by artificial Noteseiner comic roots alone.
Action Heroines, who – just like ir male colleagues – use ir dramaturgical travel fists, weapons, blunt objects, to fight mselves for thrashing (and beating choreography), are interwoven with ohnedass action-relevant elements, were in Cinema Jahrzehntelangdie exception. The lust for pure performative violence was a matter for men.
Does new accumulation of dispute and prügellustigenHeldinnen now mean progress? Are you approaching equal rights, wennAction-directors with all bloody episodes of protagonists are identical to protagonists? Or are y just a sign of a dulling undstetig-depressing society in which no more empathy for victims is now available?
