We are honoured to bring you an extra special episode with legendary activist Mother Akua (formerly known as Deborah Johnson), and the actress who plays her in Judas and the Black Messiah, Dominique Fishback.

Directed by Shaka King, this film recounts the true events that unfolded when an FBI informant infiltrated the Illinois Black Panther Party to keep tabs on their leader, Chairman Fred Hampton, played by Daniel Kaluuya. Central to this story is the love between Fred and fellow revolutionary Deborah Johnson.

Mother Akua and Dominique Fishback come together in this emotional, inspiring and fascinating discussion to reveal what it was like to work on this film. Mother Akua shares her initial reaction to the movie being made and talks about seeing herself in Dominique’s brilliant performance. Equally, Dominique comments on the responsibility that comes with playing a real person and considers how this role has changed her. From charitable programmes to poetry, they unpick Mother Akua’s experiences in the Illinois Black Panther Party and how these were woven into the film. Dominique also recalls giggling through a kiss scene with Daniel!

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We travel back to 1920s Chicago in this episode that celebrates the Netflix Original film, Ma Rainey’s Black Bottom. Starring Viola Davis as Ma, this musical drama tunes into one particular recording session of the famed blues singer. Anna chats to star Taylour Paige, casting director Avy Kaufman and critic Akua Gyamfi.

Anna first chats to critic Akua about Viola’s exceptional portrayal of the musical icon. They explore the character’s image, sexuality, fame and unapologetic truth. Finding Ma Rainey relevant to the present day, Akua imagines her as a 21st century influencer, and reflects on Black women in the music industries. Whether busting conventions or being busted for lesbian orgies, Ma sparks endless intrigue and admiration.

Anna is then joined by Taylour Paige who stars as Ma’s girlfriend Dussie May. Taylour unpicks her character’s role in the film and praises George C. Wolfe’s direction for allowing her to be playful. She also reveals what it was like to work with Viola both onscreen and offscreen… apparently she is quite the comedian!

Finally, Anna welcomes Avy Kaufman to the podcast – our first casting director guest! Avy gives us an insight into the world of casting. She explains how she cast actors around Viola and why it was important to get the dynamic right between her and Taylour. More generally, Avy comments on bringing diversity to the screen, how the casting process has changed during the pandemic, and what makes a good casting director.

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In this episode, we take a deep dive into the Netflix Original film Pieces of a Woman. This drama stars Vanessa Kirby as Martha, a woman who tragically loses her child after a home birth.

Vanessa talks to Anna about how she prepared for the role. She details the research she undertook to learn about pregnancy, giving birth, and the processes of grief. She also describes having a pyjama party with Ellen Burstyn! Looking back at Vanessa’s career, they discuss what she looks for in a character, citing Margaret from The Crown as a particularly interesting part. On approaching blockbuster roles, Vanessa talks Mission Impossible and dreading sports day at school!

Critic Jessica Kiang joins Anna to delve into Pieces of a Woman further. They celebrate Vanessa’s extraordinary performance and the breath-taking opening sequence. The critics discuss how the intimacy between writer Kata Wéber and her partner, director Kornél Mundruczó, comes across on screen. Jessica particularly enjoys how Kata and Vanessa have worked together to make Martha a relatable woman.

Jessica’s recommendations: Proxima and Dick Johnson Is Dead (both on Netflix UK now).

Other movie mentions: Three Sisters, The World To Come, White God, Jupiter’s Moon.

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Anna Smith has two open, feminist discussions with two great actresses.

First up, Rosamund Pike talks about her latest movie, the fast-paced thriller I Care A Lot. She has received a Golden Globe nomination for her performance as Marla Grayson, a ruthless businesswoman who exploits the care home system. Rosamund sings the praises of Dianne Wiest and reveals her pride in the film’s LGBTQ+ representation. On sex scenes, she reveals a ‘graphic’ scene that didn’t make the cut, and discusses the introduction of intimacy coordinators on set.

Next, Anna chats with Stacy Martin about her recent roles in sci-fi film Archive and serial killer series The Serpent. Stacy considers the challenges she has faced in her career, including the backlash she received for her first film Nymphomaniac. She also delves into how she chooses her roles and why she tries to swerve the love stories. In this chock-full feminist chat, Stacy discusses the pay gap, sitting on the 16 Days 16 Films jury, and why she loves podcasts!

Stacy recommends The Ripper on Netflix, and Rosamund expresses her love for Chloé Zhao’s Nomadland.

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Is Wonder Woman 1984 a feminist movie? Joining Anna for this lively debate are Empire critic Helen O’Hara and F-Rating’s Holly Tarquini.

They first discuss Helen’s new book Women vs. Hollywood: The Fall and Rise of Women in Hollywood, which is available from February 18th 2021. Helen shares some surprising facts on women’s roles in silent cinema and celebrates the increasing number of opportunities for women in film today.

Perhaps representative of this positive change is the rebooted Wonder Woman franchise, helmed by Patty Jenkins. The newest instalment is Wonder Woman 1984, it’s a fluorescent sequel that sees Diana Prince (Gal Gadot) face two new villains: Barbara (Kristen Wiig) and Max Lord (Pedro Pascal).

A female-led superhero film co-written and directed by a woman sets the groundwork for a surefire feminist success, but does it hit the mark? With opposing opinions, Anna, Helen and Holly debate everything from how the film tackles sexual harassment to the backstories of the villains.

Decide for yourself by renting Wonder Woman 1984 on demand.

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With awards season approaching, we delve into Germany’s Oscar-entry And Tomorrow the Entire World. This urgent political drama follows new Antifa member Luisa (Mala Emde) as she finds her feet in Germany’s anti-fascist organisation.

Anna’s first guest is the writer-director Julia von Heinz. Having based the film on personal experience, Julia talks about the terrifying moments she faced as a young Antifa member and how she tried to replicate that fear and frenzy onscreen. She further delves into the cinematography choices she made with DOP Daniela Knapp and recalls the casting process for her female protagonist. Anna and Julia discuss the powerful effect of a song and why the film is sadly so relevant today.

Next, Anna is joined by critics Emma Jones and Tara Judah. Together they unpack the film’s central female friendship and explore its portrait of youth. Prompted by her favourite scene, Emma dreams of life in a commune. From protests to pregnancy tests, the critics then turn to Kiwi comedy Baby Done. They talk about the pressures of impending motherhood, and praise the depiction of a woman who’s conflicted by her pregnancy. Finally, they offer a teaser review of upcoming revenge thriller Promising Young Woman.

Other movie mentions: Hunt for the Wilderpeople, The Breaker Upperers

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In the latest isolation pod, Anna chats to two creatives who are championing complex female characters in film, including intimate insights into women’s mental health.

Anna first chats to Tuppence Middleton, the star of mystery-thriller Disappearance at Clifton Hill. Inspired by the personal experiences of writer-director Albert Shin, the film follows Abby, a young woman haunted by childhood memories of witnessing a possible kidnapping. Tuppence talks about playing a flawed female protagonist and delves into the intricacies of Abby’s mind. She further explains how she found a convincing bond with her onscreen sister and takes a look back at her career so far, reflecting on past feminist roles.

Anna then talks to writer-director Rose Glass, whose debut feature Saint Maud achieved critical acclaim when it hit cinemas last year. This psychological-horror film follows Maud (Morfydd Clark), a reclusive nurse who becomes obsessed with saving the soul of her dying patient (Jennifer Ehle). Rose unpacks the individual acting styles of Morfydd and Jennifer, and dives into how she brought the complex character of Maud to life. They also discuss the surprising style of the film, Rose’s cinematic influences and the use of William Blake in the story.

Other movie mentions: Trap for Cinderella, A Woman Under the Influence, In Her Place, Skeletons, Mank, The Current War, Repulsion, Rosemary’s Baby, The Tenant, Persona, The Silence, Through a Glass Darkly, Taxi Driver.

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This episode is a deep dive into the film Bombshell, a dramatic representation of the Fox News sexual harassment scandal that unfolded in the media in 2016.

Anna welcomes film critics Udita Jhunjhunwala and Pamela Hutchinson to revisit the movie and the true story it tells. They celebrate the lead performances from Charlize Theron, Nicole Kidman and Margot Robbie, as well as delve into some particularly poignant scenes.

The critics compile a short watchlist of films with similar themes, including The Marvellous Mrs. Maisel, On The Record, The Assistant, and 9 to 5. These prompt lively discussions that leap from stand-up comedy to shoes on screen.

Other mentions: To Die For, WW84, Nomadland, No Time To Die, Mirzapur, Four More Shots Please!, Succession, Bhaag Beanie Bhaag.

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We team up with Birds’ Eye View to bring you a female-focused film review of 2020. Despite the knockback the film industry as a whole has faced this year, a record number of films by women were released in cinemas and on digital. Host Anna Smith welcomes Mia Bays, Delphine Lievens and Allison Gardner onto this very special episode to discuss the highlights. Delphine, the Senior Box Office Analyst for Gower Street, delves into the intersections of the stats. Allison, the CEO at Glasgow Film, looks at how cinemas have been coping. And Mia unpacks the work Birds’ Eye View has done this year. Together, they offer a positive and critically constructive outlook on the intersectional inclusion of women in all areas of the film industry. Stay tuned for special appearances from some of the most celebrated filmmakers of 2020, from Halina Dyrschka to Zeina Durra.

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