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Tribe 54 Group

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Mature Women Film !LINK!

The aim of this work is to investigate changes in the ocular surface (OS) and tear film (TF) by means of questionnaire-based subjective symptoms, TF break-up time, Schirmer test, and TF analysis in women working with computers and to analyze the effects of the oral supplementation with antioxidants/omega 3 fatty acids (A/ω3) in the OS outcomes. Women aged 40-65 years (n = 148) were recruited at the Administrative Offices of Valencia (Spain) and distributed into two age groups, 40-52 years (AGE1; n = 87) and 53-65 years (AGE2; n = 61), and then subdivided according to being (or not) computer users (CUG; NCUG) during the workday. Homogeneous subgroups were randomly assigned (or not) to the daily intake of three pills of A/ω3 for three months. At baseline and at the end of follow-up, personalized interviews and ocular examination were done. Reflex tear samples were collected from the inferior meniscus and processed for a multiplexed particle-based flow cytometry assay to measure proinflammatory molecules. Statistics were performed using the SPSS 15.0 program. The OS pathology was clinically evident in the AGE1-CUG (33%) versus the AGE2-CUG (64%) of women. Significantly higher interleukins-1β and -6 tear levels were found in the AGE1 versus the AGE2 women employees (P = 0.006 and P = 0.001, resp.), as well as in the CUG versus the NCUG (P = 0.001 and P = 0.000, resp.). Supplementation with A/ω3 positively influenced the OS pathology as manifested by the amelioration of the clinical signs/symptoms related to computer uses. Strategies involving a safe environment and oral micronutrient supplements may be managed within eye-care standards in older women.

mature women film


András Vayda (Tom Berenger) grows up in a turbulent, war-torn Hungary, where he procures local girls for the occupying G.I.s during World War II. Disappointed by the girls his age, he meets Maya (Karen Black), a married woman in her 30s, who tutors him in love and romance. Maya is only the first of many mature women whom András will meet through his teenage and young adult life.

Before its release, the Ontario Film Review Board demanded the removal of a 35 second sex scene from the film. However, the original cut of the film was shown during the Toronto International Film Festival, and despite a subway strike and a rainstorm, hundreds of people waited outside the Elgin Theatre to see the film.[1] According to some sources, counterfeit tickets were distributed, and a riot almost formed as ticket holders were turned away.[1][2]

My Old Lady is a 2014 comedy-drama film written and directed by Israel Horovitz in his feature directorial debut.[4] The film was released in 2014, and stars Maggie Smith, Kevin Kline, Kristin Scott Thomas, and Dominique Pinon.[5] It was screened in the Special Presentations section of the 2014 Toronto International Film Festival.[6]

Horovitz, principally a playwright and theatre director, and whose plays have been translated and performed in more than 30 languages worldwide, had previously directed only one film, 3 Weeks After Paradise, a 51-minute testimonial from 2002 about his family's experiences following the September 11, 2001, terrorist attacks on New York's World Trade Center.[12]

On Rotten Tomatoes the film has an approval rating of 61% based on 89 reviews. The site's consensus reads, "Although My Old Lady doesn't quite live up to its stars' talents, Kevin Kline and Maggie Smith carry the film capably whenever they're together onscreen."[15] On Metacritic, the film has a score of 53 out 100 based on reviews from 19 critics, indicating "mixed or average reviews".[16]

John DeFore of The Hollywood Reporter wrote: "Kline remains a pleasure to watch, surviving the character's deepening self-pity and making his suspiciously unwriterly carelessness with words (he refers to the trophy head of a wild boar as a "cow") almost charming."[17]Variety's Andrew Barker gave a mixed review: "Its translation from stage to screen looks to have been a bit rocky, and the film never manages to transcend its actors-workshop aura and develop into something deeper."[18]

Another study from 2018 found that only 35% of the top-grossing films from that year featured 10 or more female speaking characters. Compare this to the 82% that had 10 or more male characters in speaking roles.

Similarly, an analysis of over 10,000 films made in the UK between 1911 and 2017 found the gender mix in UK film casts has not improved since the end of the second world war. Female actors have also tended to make fewer films and have had shorter careers than male actors.

Caroline Noakes MP, the chair of the women and inequalities committee, has highlighted this issue on Twitter saying she has written to Ofcom to ask for a meeting about the under representation of women aged over 45 by UK broadcasters.

And when older women are shown, TV and film casting often favours women who have bodies that are the shapes and sizes of younger women. Research from the US has linked this to eating disorders and negative body image in older women.

Victoria Mapplebeck, professor in digital arts at Royal Holloway University of London has recently written about how she was unable to continue working as a film director after she had a child. She writes:

I have recently written and performed a spoken word piece to raise awareness of this issue, in support of the Acting your Age campaign, which calls for equal career trajectory for men and women in the entertainment industry.

Hugh Quarshie, a Ghanaian-born British actor, who has also backed the campaign, likened the invisibility of older women on screen to past black representations in TV and film. He says serious pressure must be put on the producers and broadcasters to provoke rapid change and deal with the problem of invisibility.

As part of her research for the campaign, Clarke found that only 9% of UK viewers can recognise more than 15 women over the age of 45 on our screens compared to 48% of viewers who can easily identify more than 15 men of that age on screen.

While 50/50 gender split in roles and more older women cast in TV and film will help matters, what we really need is more women behind the camera and in the writing studios telling stories that women of all ages want to hear.

The percentage of major female characters in movies last year grew from 37% in 2019 to 38% in 2020. Those with speaking roles grew from 34% in 2019 to 36% in 2020. Despite these increases, the percentage of female protagonists in films fell from 40% in 2019 to only 29% in 2020, after this metric had risen the last two years.

The study examined more than 1,700 characters across the 100 top domestic grossing films of 2020. While last year saw a lack of theatrical releases due to the pandemic, Lauzen told USA TODAY the study has approached the data this way since 2002 and opted to stay consistent.

Breaking the numbers down further in terms of race and ethnicity, the number of Black females in speaking roles dipped from 20% in 2019 to 17% in 2020. Representation for Asian women also fell, from 7% in 2019 to 6% in 2020. For Latinas, this number grew from 5% in 2019 to 6% in 2020.

X takes place in 1979 and follows a group of young filmmakers who set out to make an adult film in rural Texas, but when their reclusive, elderly hosts catch them in the act, the cast find themselves fighting for their lives.

Notions of what sex is still foreground penetrative sex, whereas the research shows that only 35 per cent of heterosexual women climax from vaginal sex alone, compared with 80 per cent who always or usually have an orgasm with a combination of genital stimulation, deep kissing and oral sex.

Although this common knowledge amongst women, the de facto Hollywood sex scene makes intercourse the main dish, with the female partner seemingly satisfied by this. For Nancy, she is so disillusioned with penetrative sex that she does not believe that she has the capacity to climax. She has internalised the consequences of bad, uncurious sex, and so what she experiences with Leo is nothing short of a revelation.

Age has withered the careers of many great female film stars who find that once they are over 30, they are considered over the Hollywood hill. However, that might be about to change, with the release of a batch of new films in which the leading lady is approaching middle age.

"There used to be the 'women's picture', back in the days of classic Hollywood, films with Bette Davis and Joan Crawford, which were aimed at women of all ages and had storylines around the family and emotional themes," said Dr Rosie White, senior film lecturer at Northumbria University. "The actresses carried the films, and we could see films with mature females as a return to that."

Two years ago, however, the actress Scarlett Johansson, 25, complained that Hollywood threw women on the scrapheap once they reached a certain age. "Women kind of wilt as men sort of achieve as they get older, like wine or whatever," she said. "It's like, 'Oh, she's past her prime'."

The trend may reflect an increased awareness of older women and ageing, as well as the huge success of the film musical Mamma Mia! starring Meryl Streep. "There is a lot of attention being paid to women getting older in the media now, and that is something we haven't seen for a good while. It'll be interesting to see how it lasts," said Dr White.

Catherine Zeta-Jones's new film taps into the current "cougar" trend for older women to date younger men, as with Sam Taylor-Wood, 43, who is engaged to Aaron Johnson, 19. Zeta-Jones, 40, plays a single mother who ends up falling for her children's younger male nanny.

Demi Moore, 47, in her first big screen outing after a string of independent films and straight-to-DVD releases, plays happy families with X Files star David Duchovny. Moore's glamorous character, Kate, inspires envy among friends in her middle-class suburb who are jealous of her perfect life, but her family is a fake marketing ploy.

Uma Thurman, 39, who kicked her way through Quentin Tarantino's Kill Bill films, fell spectacularly to earth in this turkey about a mother who has a frantic day preparing for her daughter's birthday. It took 88 on its opening weekend in Britain. Only one person turned up to the first screening. 041b061a72


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