Podcast appearances and mentions of Anna Smith

In this star-studded episode, Anna Smith and co-founder Hedda Lornie Archbold delve into two exciting new films led by complex and captivating women. First, Anna chats with Julia Louis-Dreyfus and Geraldine Viswanathan, stars of Thunderbolts*—the latest Marvel Cinematic Universe film. Together, they discuss their first meeting, stepping into a superhero world alongside Florence Pugh and bringing depth and humour to their roles. Then, Hedda speaks with producer Rosie Fellner and actor Elizabeth Reaser about The Uninvited—a darkly funny and deeply poignant film that explores gender, aging, and identity in Hollywood. Reaser portrays Rose, a once-famous actress whose life is upended by a mysterious guest at a glamorous Hollywood gathering. The film also stars Walton Goggins, Lois Smith, Eva De Dominici, Pedro Pascal, and Rufus Sewell, and is writer-director Nadia Conners' debut feature. Thunderbolts* landed in UK cinemas 1 May 2025 The Uninvited is in UK cinemas 9 May 2025 http://eepurl.com/iEKaM-/ or email girlsonfilmsocial@gmail.com to be signed up. Become a patron of Girls On Film on Patreon here: www.patreon.com/girlsonfilmpodcast Follow us on socials: www.instagram.com/girlsonfilm_podcast/ www.facebook.com/girlsonfilmpodcast www.twitter.com/GirlsOnFilm_Pod www.twitter.com/annasmithjourno Watch Girls On Film on the BFI's YouTube channel: www.youtube.com/playlist?list=PLX…L89QKZsN5Tgr3vn7z Girls On Film is an HLA production. Host: Anna Smith Executive Producer: Hedda Lornie Archbold Producer: Charlotte Matheson Intern: Hattie Morris Audio editor: Benjamin Cook House band: MX Tyrants Principal Partners: Vanessa Smith and Peter Brewer © HLA Agency

In this special episode recorded at the Glasgow Film Festival, Jessica Lange joins Girls On Film host Anna Smith to reflect on her extraordinary career across stage and screen. She discusses her latest film, Long Day's Journey Into Night, which premiered at the festival, and shares insights into her rural Minnesota upbringing, early years studying mime in Paris, and her upcoming role as Marlene Dietrich. Jessica also revisits some of her most iconic roles, from portraying Frances Farmer in the heartbreaking biopic Frances to starring alongside Dustin Hoffman in the genre-defying comedy Tootsie. She also explores her more recent work on American Horror Story, which not only cemented her status as an acting legend but also introduced her to a new generation of fans. Beloved by Gen X and Gen Z alike, Jessica's performances continue to captivate audiences across film, television and stage. Acclaimed as one of the greatest actresses of her generation, Jessica is the 15th Oscar winner to appear on Girls On Film. The conversation was recorded on 1 March 2025. http://eepurl.com/iEKaM-/ or email girlsonfilmsocial@gmail.com to be signed up. Become a patron of Girls On Film on Patreon here: www.patreon.com/girlsonfilmpodcast Follow us on socials: www.instagram.com/girlsonfilm_podcast/ www.facebook.com/girlsonfilmpodcast www.twitter.com/GirlsOnFilm_Pod www.twitter.com/annasmithjourno Watch Girls On Film on the BFI's YouTube channel: www.youtube.com/playlist?list=PLX…L89QKZsN5Tgr3vn7z Girls On Film is an HLA production. Host: Anna Smith Executive Producer: Hedda Lornie Archbold Producer: Charlotte Matheson Intern: Anna Swartz Audio editor: Alex Jones House band: MX Tyrants Principal Partners: Vanessa Smith and Peter Brewer © HLA Agency

In this episode of Girls On Film, recorded at the 2025 Glasgow Film Festival, host Anna Smith is joined by co-founder and Executive Producer of the podcast, Hedda Lornie Archbold, to bring listeners exclusive interviews with some of the festival's stars. They welcome insights from Festival Director Allison Gardner, star of opening gala film Tornado, Kōki, and two of the creative minds behind The Extraordinary Miss Flower. Allison Gardner talks about her highlights of her final year leading the Glasgow Film Festival. Kōki, the rising star of Tornado, opens up about her role as the daughter of a Japanese puppeteer in John Maclean's thriller. And Emiliana Torrini and Caroline Catz dive into their work on The Extraordinary Miss Flower, a genre-blending love letter to love letters, set to Torrini's dreamy soundtrack. The Extraordinary Miss Flower will be released in the UK on 9 May 2025. Tornado will be available in cinemas from 23 May 2025. Glasgow Film Festival 2025 runs from 26 February to 9 March 2025. For more information on screenings and tickets, visit the Glasgow Film Festival website https://www.glasgowfilm.org/home March is International Women's Month, and this year also marks the 20th Anniversary of Birds Eye View Festival, now Reclaim the Frame, a charity championing women filmmakers. The festival will host a Weekender from 7–9 March 2025 at BFI Southbank and Regent Street Cinema, featuring events, screenings, and a special showing of Lollipop, which featured in episode 181 of Girls On Film. For more details, visit reclaimtheframe.org.Sign up to the Girls On Film newsletter below: http://eepurl.com/iEKaM-/ or email girlsonfilmsocial@gmail.com to be signed up. Become a patron of Girls On Film on Patreon here: www.patreon.com/girlsonfilmpodcast Follow us on socials: www.instagram.com/girlsonfilm_podcast/ www.facebook.com/girlsonfilmpodcast www.twitter.com/GirlsOnFilm_Pod www.twitter.com/annasmithjourno Watch Girls On Film on the BFI's YouTube channel: www.youtube.com/playlist?list=PLX…L89QKZsN5Tgr3vn7z Girls On Film is an HLA production. Host: Anna Smith Executive Producer: Hedda Lornie Archbold Producer: Charlotte Matheson Intern: Anna Swartz Audio editor: Benjamin Cook House band: MX Tyrants Principal Partners: Vanessa Smith and Peter Brewer © HLA Agency

We're joined by the Cinema Journalist, Toby Rose who is the founder of the FIDO Awards, which celebrates the roles of dogs in film.  The FIDOS 2025, staged today on February 23rd will unleash the winners of the best canine capers in cinemas at a special ceremony held at British Film Institute in London.                                                                 At its heart, the FIDOS (For Incredible Dogs On Screen) are more than an awards ceremony; they celebrate the powerful bond between dogs and humans, dedicated to making the world a more dog-friendly space, one paw at a time. As the sister ceremony of the famous Palm Dog Awards, held annually at the Cannes Film Festival, the FIDOS recognize the best onscreen dog performances over the past year. Nestling firmly between the BAFTAs and the Oscars, the event will, as always, be hosted by the founder of Palm Dog and FIDOS, Toby Rose. Rose says, “This year has been especially blessed with stand-out dog performances in films, as varied as Jean Claude in The Fall Guy, Pimpao the Jack Russell in I'm Still Here, and the Alsatian in Babygirl. The winners of FIDOS 2025 will be selected from the longest-ever longlist of contenders,” he continues.“What we know already is that dogrisma will triumph in the battle for a FIDO and ultimately the grand prize: BFI Best in World.”The FIDOS are awarded in five categories: Blockbuster Bowser, Comedy Canine, Rom Com Rover, Historical Hound, and Mutt Moment. Nominated films with four legged stars include Bridget Jones: Mad About The Boy, Babygirl, I'm Still Here and Deadpool & Wolverine. From the winners in these sections, an outstanding performance will be chosen and declared BFI Best in World. Also awarded is FiDogManitarian, in honour of those who celebrate the bond between canines and the human race.The top dogs are chosen by a jury of top film journalists including Anna Smith from the Girls On Film podcast; Tim Robey of The Daily Telegraph; Rita Di Santo of FIPRESCI; Damon Wise of Deadline and author and programmer Kaleem Aftab. Follow all the updates on InstagramFollow Anna on:https://annawebb.co.uk We encourage you to feed your dog raw and believe Paleo Ridge is the best place to start!Produced by Mike Hanson for Pod People Productionshttps://podpeopleproductions.co.uk/ Music by Mike Hanson Cover photo by Rhian Ap Gruffydd @gruffpawtraits Art work by https://jaijo.com

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The Queen of Grimdark (Anna Smith Spark) fields our questions expertly and gives insights into writing and storytelling.Send us a text Support the show

Anna Smith takes a closer look at the poignant, BAFTA-nominated Netflix documentary Daughters, co-directed by Natalie Rae and Angela Patton. The film intimately portrays the lives of four young Black women in the United States, navigating the emotional challenges of growing up with fathers who are incarcerated. Directors Natalie and Angela join Anna to discuss their eight-year journey bringing this powerful story to life, from filming during the pandemic to building an open and compassionate dialogue with the young women seen on screen, all culminating in the transformative Daddy Daughter Dance at the heart of the documentary. Angela Patton, CEO of Girls For A Change, shares her perspective on amplifying young women's voices, while Natalie Rae delves into the creative and emotional process of filming such a personal and moving story in this episode of Girls On Film. Daughters is available to stream on Netflix now. Sign up to the Girls On Film newsletter below: http://eepurl.com/iEKaM-/ or email girlsonfilmsocial@gmail.com to be signed up. Become a patron of Girls On Film on Patreon here: www.patreon.com/girlsonfilmpodcast Follow us on socials: www.instagram.com/girlsonfilm_podcast/ www.facebook.com/girlsonfilmpodcast www.twitter.com/GirlsOnFilm_Pod www.twitter.com/annasmithjourno Watch Girls On Film on the BFI's YouTube channel: www.youtube.com/playlist?list=PLX…L89QKZsN5Tgr3vn7z Girls On Film is an HLA production. Host: Anna Smith Executive Producer: Hedda Lornie Archbold Producer: Charlotte Matheson Intern: Anna Swartz Audio editor: Emma Butt House band: MX Tyrants This episode is in partnership with Netflix © HLA Agency

The Queen of Grimdark, Anna Smith Spark, joins us to tell a tale and discuss the stories we have written to the prompt 'Winterfest'.Send us a text Support the show

In this episode, I'm delighted to be joined by the Queen of Grimdark, Anna Smith Spark! Anna joins me for a deep dive into all things writing. We look at Anna's process, how she wrote her brilliant books, A Court of Broken Knives, A Woman Of The Sword, and A Sword Of Bronze and Ashes, and how she approaches pantsing. Anna also shares her fantastic wisdom on Grimdark, explaining what it is and what the key features are for writers. We also discuss character creation, worldbuilding, and dealing with writing challenges. You're bound to learn something new! JOIN OUR DISCORD COMMUNITY ⁠https://mailchi.mp/395aa89d6ec0/join-richie-billings-community-of-writers⁠ ABOUT ANNA SMITH SPARK https://britishfantasysociety.org/meet-anna-smith-spark/ https://www.instagram.com/annasmithspark/ https://www.facebook.com/queenofgrimdark/ https://www.goodreads.com/author/show/15935255.Anna_Smith_Spark GET A SWORD OF BRONZE AND ASHES https://www.flametreepublishing.com/a-sword-of-bronze-and-ashes-isbn-9781787588400.html GET IN TOUCH thefantasywriterstoolshed@gmail.com ⁠https://richiebilling.com/⁠ RESOURCES Discover more ⁠⁠⁠⁠writing tips⁠ and guides⁠⁠⁠ here - ⁠⁠https://richiebilling.com/writing-tips/⁠⁠ And learn more about ⁠⁠⁠⁠writing fantasy⁠⁠⁠⁠ here - ⁠⁠https://richiebilling.com/fantasy-writing/⁠

In this episode, host Anna Smith transports listeners to the world of Wicked. She speaks with three key creatives behind this enchanting film adaptation of the hit Broadway musical. Directed by Jon M. Chu, the film stars Cynthia Erivo as Elphaba and Ariana Grande as Glinda, bringing this iconic story of friendship, magic, and love to life on the big screen. Hair, Makeup, and Prosthetics Designer Frances Hannon discusses how she approached creating Elphaba's iconic green look. Director of Photography Alice Brooks explains how she updated the technicolour dreamworld of Oz through the film's cinematography. And, Costume Designer Paul Tazewell describes how he developed a ‘language of clothing' to reflect the world and characters of Oz. The episode highlights the significant role that Hair and Makeup Design, Costume Design and Cinematography play in bringing the story of these two complex women to life. Listeners will get a glimpse into the artistry behind the film and the collaborative effort that makes Wicked both visually stunning and emotionally resonant. Wicked is in UK cinemas now, with part two coming next year. Let us know what you think on social media - tag Girls On Film and use the hashtag #WickedMovie. Sign up to the Girls On Film newsletter below: http://eepurl.com/iEKaM-/ or email girlsonfilmsocial@gmail.com to be signed up. Become a patron of Girls On Film on Patreon here: www.patreon.com/girlsonfilmpodcast Follow us on socials: www.instagram.com/girlsonfilm_podcast/ www.facebook.com/girlsonfilmpodcast www.twitter.com/GirlsOnFilm_Pod www.twitter.com/annasmithjourno Watch Girls On Film on the BFI's YouTube channel: www.youtube.com/playlist?list=PLX…L89QKZsN5Tgr3vn7z Girls On Film is an HLA production. Host: Anna Smith Executive Producer: Hedda Lornie Archbold Producer: Charlotte Matheson Intern: Anna Swartz Audio editor: Emma Butt House band: MX Tyrants This episode is in partnership with Universal Pictures © HLA Agency

In this special episode from the Evolution Mallorca International Film Festival, Anna Smith hosts a panel discussion on women in leadership within the film industry. In the third iteration of this panel, Anna is joined by three international industry leaders: Kirsty Bell, CEO of the Oscar-winning production company Goldfinch, international film publicity strategist Mia Farrell and Oscar-nominated producer Rebecca Pruzan. Together, they explore the pathways to landing leadership roles, the skills needed to thrive once there, and the shifting dynamics of gender and race in the film industry. Kirsty Bell shares her experiences starting Goldfinch as a family business and reflects on directing A Bird Flew In—the first film shot during the pandemic, which pioneered COVID protocols on set. She also highlights the importance of supportive men in her life, and how they've played a role in her career. Mia Farrell offers insights from her career as a publicist, discussing her passion for elevating films through strategic PR, as well as her advocacy for greater diversity in the industry. She tells the audience about the genesis of her impactful Screen Daily article, "Why are so few Black people in positions of power in the arthouse film PR sector?'”. Mia also shares her experiences working on The Dads, a heartfelt documentary on fatherhood and trans youth, directed by Luschina Fisher, and available on Netflix. Rebecca Pruzan discusses her transition from a career in IT and consultancy to becoming an Oscar-nominated producer. She reflects on the identity politics at play in producing her short film IVALU, highlighting the challenges of navigating cultural sensitivities in storytelling and discussing the reaction to the film on its festival journey. This episode is in partnership with Evolution Mallorca International Film Festival. You can find out more about the Evolution Mallorca International Film Festival here: https://www.evolutionfilmfestival.com/tickets A reminder that you can read a transcript of our episodes on Apple Podcasts by clicking the ‘transcript' option in settings in the episode description. Sign up to the Girls On Film newsletter below: http://eepurl.com/iEKaM-/ or email girlsonfilmsocial@gmail.com to be signed up. Become a patron of Girls On Film on Patreon here: www.patreon.com/girlsonfilmpodcast Follow us on socials: www.instagram.com/girlsonfilm_podcast/ www.facebook.com/girlsonfilmpodcast www.x.com/GirlsOnFilm_Pod www.x/annasmithjourno Watch Girls On Film on the BFI's YouTube channel: www.youtube.com/playlist?list=PLX…L89QKZsN5Tgr3vn7z Girls On Film is an HLA production. Host: Anna Smith Executive Producer: Hedda Lornie Archbold Producer: Charlotte Matheson Intern: Anna Swartz Audio editor: Benjamin Cook House band: MX Tyrants © HLA Agency

In this festival special, Anna Smith island hops across some of the most unique film festivals of the season, taking listeners from Sea Change festival in Scotland's Tiree to the London Film Festival before ending in Mallorca to hear about the upcoming Evolution Mallorca International Film Festival 2024. First, Anna reports from this year's Sea Change Film Festival in the Inner Hebrides. She speaks with filmmaker Jeanie Finlay (Your Fat Friend, Seahorse) and festival-goers like Reclaim The Frame's Melanie Iredale about their time at Scotland's only annual festival dedicated to powering women in film. Next, she heads to the BFI London Film Festival to meet actor Deba Hekmat and writer Helen Simmons, whose film Last Swim has its premiere at this year's festival. This coming of age drama tells the story of Ziba, a young woman who celebrates her A-Level results with friends while grappling with a personal secret. With Anna, Deba discusses the authenticity of the film's dialogue, how it captured Gen Z sensibilities almost perfectly, and how she resonated with the character of Ziba. Helen reflects on working with a translator to capture an authentic Farsi that is spoken by Ziba and her mother in Last Swim, as well as speaking about the lack of representation of driven and intelligent young women in film. Anna also catches up with some friends of the podcast when she is out and about at LFF. Finally, it's off to Spain for a preview of the Evolution Mallorca International Film Festival. Anna sits down with festival director Sandra Lipski to discuss some of her feminist festival highlights. Sandra gives us an insight into the 2024 lineup, including the festival's plan to welcome five time Academy Award-nominee Annette Bening to Mallorca's sunny shores. Films Mentioned: Last Swim (2024) Black Box Diaries (2024) Anora (2024) Conclave (2024) All We Imagine As Light (2024) Twiggy (2024) The Extraordinary Miss Flower (2024) Las chicas de la estación (2024) The Grifters (1990) The Outrun (2024) Endurance (2024) Emilia Perez (2024) Your Fat Friend (2023) Widow Clicquot (2024) Hoard (2024) Principal Partners: Vanessa Smith and Peter Brewer Our partners for this episode: Evolution Mallorca International Film Festival You can buy tickets for Evolution Mallorca International Film Festival from the 17th October 2024 via this link: https://www.evolutionfilmfestival.com/tickets Sign up to the Girls On Film newsletter below: http://eepurl.com/iEKaM-/ or email girlsonfilmsocial@gmail.com to be signed up. Become a patron of Girls On Film on Patreon here: www.patreon.com/girlsonfilmpodcast Follow us on socials: www.instagram.com/girlsonfilm_podcast/ www.facebook.com/girlsonfilmpodcast www.x.com/GirlsOnFilm_Pod www.x/annasmithjourno Watch Girls On Film on the BFI's YouTube channel: www.youtube.com/playlist?list=PLX…L89QKZsN5Tgr3vn7z Girls On Film is an HLA production. Host: Anna Smith Executive Producer: Hedda Lornie Archbold Producer: Charlotte Matheson Intern: Anna Swartz Audio editor: Benjamin Cook House band: MX Tyrants © HLA Agency

Anna Smith Anna Smith/HERO Heating & Air HERO Heating and Air is a unique family owned and operated business with years of experience serving the local Georgia area including North Gwinnett, Barrow & Jackson Counties and more. Established and operated through the brotherhood of local firefighters serving your community. They are committed to the highest […]

Anna Smith Anna Smith/HERO Heating & Air HERO Heating and Air is a unique family owned and operated business with years of experience serving the local Georgia area including North Gwinnett, Barrow & Jackson Counties and more. Established and operated through the brotherhood of local firefighters serving your community. They are committed to the highest […] The post Anna Smith with HERO Heating & Air appeared first on Business RadioX ®.

Send us a textAnna Smith is the Public Information Officer for Morehead City, NC, and has more than a decade of professional communications experience. She graduated from Penn State with a degree in Print Journalism and Spanish before moving to North Carolina in 2011. She enjoys disseminating information on the city's departments, including Fire-EMS and Police. When she isn't covering everything from community events to crisis communications, you can find her baking, reading a good book, or spending time with her husband and their cat, Otto.Anna's LinkedInSupport the showThis episode is sponsored by John Guilfoil Public Relations. From crisis communications to website development; visit our website JGPR.net or call 617.993.0003

Anna Smith speaks to Lily Ahree Siegel, director of Equal Play, a new short documentary that discusses the importance of equal access to school sports for disabled children. Anna is also joined by Lindsey Dryden, director, writer, producer, executive producer, as well as co-founder of FWD-DOC, and Clare Baines, the BFI's Inclusion Partner, to talk about equal access within the film industry and the bigger issues touched on in Equal Play. First, Clare discusses her personal connection to the documentary, revealing to Anna how losing her eyesight at 15 affected her ability to participate in school sports. Clare also advocates the importance of educating kids about their bodies. As a disabled woman in the film industry, Lindsey highlights the inaccessibility of disabled people entering the world of entertainment. She questions the disparity between disabled stories in documentaries vs narratives and encourages more joyous cinematic portrayals of the disabled experience. Lindsey and Clare share their favourite film depictions that capture the disabled experience. They also call for a disability revolution including more on-screen celebrations about disabilities. Next up, Lily Ahree Siegel discusses her background within the arts and what inspired her to become a documentary filmmaker. Lily highlights access to PE and sports as an issue affecting kids worldwide, discusses the importance of inclusion passports, and shares her favourite moment on set. Equal Play is available to watch on Channel 4 - https://www.channel4.com/programmes/equal-play A reminder that you can read a transcript of our episodes on Apple Podcasts by clicking the ‘transcript' option in settings in the episode description. This episode is brought to you by Harder Than You Think. Films/TV Shows/Books mentioned: The Gleaners and I (Agnes Varda) We Might Regret This (created by Kyla Harris) - available on BBC The Callers (Lindsey Dryden) Lost In Sound (Lindsey Dryden) Coda (Sian Heder) Trans In America (produced by Lindsey Dryden and Shaleece Haas) Unrest (Jennifer Brea) Patrice: The Movie (Ted Passon) - available on Hulu and showing at LFF 2024 Crip Camp (James Lebrecht and Nicole Newnham) - available on Netflix I Didn't See You There (Reid Davenport) - available to rent on Apple TV, Prime Video, and Google Play Is Anybody Out There (Ella Bee Glendining) - available on ITVX and Netflix The Tube Thieves (Alison O'Daniel) - available on PBS Feminist, Queer, Crip by Alison Kafer Websites mentioned: TV Access - https://www.channel4.com/4producers/creative-equity/tv-access-project Sins Invalid - https://www.sinsinvalid.org/blog/10-principles-of-disability-justice FWD-DOC - https://www.fwd-doc.org/ TripleC - https://triplec.org.uk/ DANC - https://triplec.org.uk/danc/ Deaf and Disabled People in TV - https://www.ddptv.org/ Sign up to the Girls On Film newsletter below: http://eepurl.com/iEKaM-/ or email girlsonfilmsocial@gmail.com to be signed up. Become a patron of Girls On Film on Patreon here: www.patreon.com/girlsonfilmpodcast Follow us on socials: www.instagram.com/girlsonfilm_podcast/ www.facebook.com/girlsonfilmpodcast www.twitter.com/GirlsOnFilm_Pod www.twitter.com/annasmithjourno Watch Girls On Film on the BFI's YouTube channel: www.youtube.com/playlist?list=PLX…L89QKZsN5Tgr3vn7z Girls On Film is an HLA production. Host: Anna Smith Executive Producer: Hedda Lornie Archbold Producer: Charlotte Matheson Assistant Producer: Jade Evans Intern: Anna Swartz Audio editor: Benjamin Cook band: MX Tyrants © HLA Agency

In this episode, Anna Smith welcomes film critic Corrina Antrobus back to Girls On Film to discuss her brand new book, I Love Romcoms and I am a Feminist: A Manifesto in 100 Romcoms. Anna is also joined by film critic Jo-Ann Titmarsh who shares her highlights direct from the Venice International Film Festival. First up, Corrina begins by discussing two Girls On Film romcom favourites - Gentlemen Prefer Blondes and She's Gotta Have It, which both feature in our pod's intro jingle. She highlights the romcoms that have often been overlooked in the genre, as well as the underlying feminism of the popular, mainstream romcoms which are often dismissed as anti-feminist. Corrina also notes the importance of diverse representation and some of the challenges of finding examples of trans romances in the romcom genre, but that by pushing for change, she has hope that things will change. **Note that there are mild spoilers for classic romcoms in this segment.** Next up, Jo-Ann shares the exciting buzz of this year's Venice International Film Festival and discusses her festival favourites. She notes how this year's fest consists of all-out glamour and fabulous women rocking the red carpet and discusses her film highlights, including her top performances by women including Nicole Kidman, Julianne Moore, Tilda Swinton and Angelina Jolie. She notes the films to look out for, and ends by discussing the long-awaited sequel to Beetlejuice. You can buy Corrina Antrobus's book I Love Romcoms and I am a Feminist: A Manifesto in 100 Romcoms at most book retailers including Waterstones, Blackwells, WH Smith and Amazon. Films mentioned in this episode: Wolfs (Jon Watts) Gentlemen Prefer Blondes (Howard Hawks) - Rent on Google Play, Apple TV, Prime Video She's Gotta Have It (Spike Lee) - Netflix Rye Lane (Raine Allen Miller) - DisneyPlus Palm Springs (Max Barbakow) - Prime Video While You Were Sleeping (Jon Turteltaub) - DisneyPlus Pretty Woman (Garry Marshall) - DisneyPlus Magic Mike XXL (Gregory Jacobs) - Prime Video, Apple TV Kissing Jessica Stein (Charles Herman-Wurmfeld) - Rent on YouTube, Prime Video, Apple TV, Google Play But I'm a Cheerleader (Jamie Babbit) - Prime Video Happiest Season (Clea DuVall) - Rent on YouTube, Prime Video A Room Next Door (Pedro Almodovar) - Releases 25 October 2024 Babygirl (Halina Reijn). Releases 10 January 2025 Maria (Pablo Larraín) I'm Still Here (Walter Salles) Familiar Touch (Sarah Friedland) Queer (Luca Guadagnino) The Wire (created by David Simon) - Sky, NowTV The Office (US version developed by Greg Daniels) - Netflix, Sky, NowTV, Prime Video Birdman (Alejandro González Iñárritu) - DisneyPlus Beetlejuice Beetlejuice (Tim Burton) - In cinemas Beetlejuice (Tim Burton) - Netflix, Prime Video Firebrand (Karim Aïnouz) - In cinemas His Three Daughters (Azazel Jacobs) - In cinemas Lee (Ellen Kuras) - In cinemas The Queen of My Dreams (Fawzia Mirza) - Releases 13 September 2024 Sign up to the Girls On Film newsletter below: http://eepurl.com/iEKaM-/ or email girlsonfilmsocial@gmail.com to be signed up. Become a patron of Girls On Film on Patreon here: www.patreon.com/girlsonfilmpodcast Follow us on socials: www.instagram.com/girlsonfilm_podcast/ www.facebook.com/girlsonfilmpodcast www.twitter.com/GirlsOnFilm_Pod www.twitter.com/annasmithjourno Watch Girls On Film on the BFI's YouTube channel: www.youtube.com/playlist?list=PLX…L89QKZsN5Tgr3vn7z Girls On Film is an HLA production. Host: Anna Smith Executive Producer: Hedda Lornie Archbold Assistant Producer: Jade Evans Intern: Anna Swartz Audio editor: Elliana Jay Hamer House band: MX Tyrants © HLA Agency

This week on The Sports Agents, Gabby & Mark paid tribute to the former England manager Sven-Goran Eriksson who passed away on Monday. After Emma Raducanu's tearful US Open press conference, following her first-round exit, former British tennis player turned commentator Anna Smith joined us to talk about the 'target on her back'.And as the transfer deadline approached, 'super-agent' Jon Smith gave us an insight into the chaos as clubs try to get last-minute deals over the line before the window closes. New episodes every Tuesday and Thursday.

In this episode of Behind the Genes, we explore the challenges diverse communities face in accessing genomic medicine. The discussion focuses on issues including language barriers, cultural differences, and socioeconomic disparities that hinder marginalised communities from accessing and benefitting from genomic medicine. Our guests delve into successful strategies for engaging these communities in healthcare research and decision-making, highlighting the importance of building trust with groups that have historically been underserved or mistreated. The episode also emphasises the need for culturally sensitive communication from healthcare professionals and how meaningful community engagement can foster collaboration and trust within genomic research. Our host, Naimah Callachand is joined by Aman Ali, a Community Ambassador at Genomics England and Community Engagement Manager at Our Future Health, Anna Smith, Child and Adolescent Integrative Psychotherapist at Rareminds, and Moestak Hussein who works for Bristol City Council in Public Health & Communities, working directly to build and imbed cohesion, inclusion and social justice approaches in her role.   "If we talk about co-production, true co-production is really creating a power balance where there's no hierarchy. It's an empowering model. It empowers both the researchers or the person that comes in, but also the communities that participate, and you all start on the same level, on the same outcomes and the same goals and aims that you want to achieve."   You can read the transcript below or download it here: https://www.genomicsengland.co.uk/assets/documents/Podcast-transcripts/Bridging-the-gap-between-diverse-communities.docx  Naimah: Welcome to Behind the Genes.  Aman: It's really important to engage community leaders who are really well embedded within the communities, who are attached to organisations or institutions which are well trusted in the community as well, so that we can get a wider perspective of how communities feel about genomic medicine and accessing services that we want people to engage with.  Naimah: My name is Naimah Callachand and I'm Head of Product Engagement and Growth at Genomics England. On today's episode, I'm going to be joined by Anna Smith, child and adolescent integrative psychotherapist for Rare Minds, Aman Ali, a community ambassador for Genomics England, and Moestak Hussein, community coordinator at Bristol City Council. Today, we'll be discussing the disparities in access to genomic medicine amongst diverse communities. If you enjoy today's episode, we'd love your support. Please like, share and rate us on wherever you listen to your podcasts.  Aman: Hi, my name's Aman Ali, I am an ambassador at Genomics England, a person very passionate about health research and ensuring that diverse communities are involved in health research, and I work as a community engagement manager at Our Future Health.  Anna: My name's Anna Smith, I'm a psychotherapist. I work in private practice and also with Rare Minds, who are a company who provide therapy to people with rare and genetic conditions.  Moestak: Hi, my name is Moestak Hussein and I have a background in community development, and I'm passionate about tackling health inequalities, and building social justice and inclusive approaches to address health inequalities. I work at Bristol City Council in the public health team, and I've participated in the Bristol workshops around equity in research in genomics.  Naimah: So, let's jump in and first of all I want to talk about barriers to access for diverse communities. I want to talk about how there are language barriers, cultural differences and socioeconomic factors that impact access to genomic medicine for marginalised communities. Anna, I wonder if you maybe could talk to me a bit about this.  Anna: Yeah. So, I'm talking about the traveller community, and we refer to this community as a GRT community, which is Gypsy, Romany and Traveller, so it encompasses people in the UK, people living in Ireland as well. And some of the barriers to accessing healthcare are a lack of understanding of culture. There's been studies done where it says that people from GRT communities show up lower on all markers for poor healthcare and poor mental healthcare, and part of the reason for that is things like illiteracy. You know, you're dealing with people who can't read or write. They can't read appointment times. They don't have access to public transport. A lot of women don't drive in this community, and also women are not very well supported within the community by the people who can drive and who can get them places, because it's not seen as something that they need access to. Because the community is so closed, everything sort of takes place within the community.   In terms of genomic healthcare, access right from the start of life, if people are not accessing healthcare right from birth, they're not getting the genetic testing that's needed, so then a lot of these things don't even show up until the illness presents itself, and then accessing healthcare from there is really difficult. You know, it's something that – it doesn't happen a lot. Only 67 percent of people from the GRT community were able to get a doctor's appointment when they needed it, compared to nearly 90 percent from other communities, and that's through things like not having a fixed address. Lots of GPs don't offer temporary registration, which means that if you are travelling, you do not have access to a GP, which is your first port of call if you need any access to healthcare. So, many people from the GRT communities are using A&E services in order to get healthcare, which – you know, they are not set up for dealing with long-term life changing conditions. They're there to deal with what's right in front of them and then they move on. There's no sort of continuity of care.  Naimah: Thanks Anna, that's really highlighted a lot of barriers for the GRT community. And I wonder, Aman, if you want to come in now and maybe discuss some of the barriers that maybe the Muslim community might experience.  Aman: Yeah, I think anyone involved in medicine or anyone who's a doctor is really well respected in the Muslim community. That profession is something that every parent aspires for their children to get involved in. They at least want one of their children to be a doctor. Having said that, there's this willingness to engage with the space, but there's a lack of knowledge, which is a huge issue here. People don't know what the word genomics means or genes, or understand DNA. Some of this language is a huge barrier to understanding and then eventually accessing some of the services that could be available to people from Muslim communities. Because when we speak about Muslim communities, we're talking about a huge, diverse group of people from South Asia, from North Africa, from the Middle East, and they all have their nuances and different cultural experiences as well.  Just to kind of point out maybe one or two, most people in the UK have grown up in the UK, where access to healthcare is free, whereas this is quite a strange phenomenon for people who may have not been born in the UK and then access healthcare services in the UK. And the context being here is usually they pay for healthcare in other countries, and whenever any public or free healthcare is provided, it's usually seen as kind of not very good or suboptimum, or yeah, it's not going to be very helpful for us. So, when they see free healthcare in the UK, there's that kind of apprehension, “Actually, is this going to be worthwhile? I'm not paying for this, so it's not going to be very much good for me.” So, those are some of the cultural nuances that certain communities where healthcare is not for free in certain countries that poses a barrier.  Language in terms of speaking and reading is an issue. So, a lot of people, they may speak a language, but they don't know how to read a language. So, even when services are translated – I, for example, can speak Bangla, but I can't read or write Bangla, and not a word of Bangla at all. So for my parents, who can speak Bangla very well, their reading level is actually quite good, but I know that many within the community, they didn't get education back home, and therefore reading and writing is a challenge as well. And then you have the issue of dialects. There's so many dialects within so many different communities, so when a language is spoken or written in a particular way, if that dialect isn't your mother tongue or a dialect that you're familiar with, then that causes challenges to access as well.  Naimah: Moestak, how do cultural beliefs and values influence attitudes towards genomic medicine within each of these different cultural communities?  Moestak: I think Aman and Anna touched on it a lot, and it's about communities being able to coproduce that historically hasn't been there. The supremacy of certain communities to have a voice and be able to express how they would like to shape their healthcare, but also access to healthcare barriers have been part of having a barrier in access. And I think Aman touched on like even the term genomics, I don't think it exists in particularly my community. I come from the Somali community, and I've tried to look at historical kind of words and terms. I mean, our language only got developed in 1973, the written language, so you can imagine that there's a lot of gaps or there's other terminologies.  So, the cultural beliefs and values is also communities' recognition to be driving their own health needs and priorities is not valued within those sectors such as healthcare. I mean, we're still talking about holistic medicine. People go to their faith leaders in the first instance to have support around prayer. That's not necessarily recognised by mainstream health provision. And I think it's about how do we build on those strengths and how do we recognise that that is a really great part of communities. And it's also tradition and customs within childbirth, from birth, understanding what children and young people and families will need. I know there's customs and traditions for women to stay at home, for example, for 40 days, and those are the kind of traditions that could be built on. And I think it's about making sure that the child doesn't pick up bacteria or things like that.   So, there is an understanding and knowledge within communities of genomics. It's the awareness and the training around patient centred approaches are still missing, in my opinion. And I think that influences how people view genomic medicine. It goes back to the lack of trust and historic past abuses and cases, that communities has resulted in lower participation and a reluctancy to be part of genomic testing, but also that lack of understanding.  Naimah: Anna, did you have something you wanted to add in there?  Anna: What you were just saying about keeping it within the community, that's something that we see with the GRT community massively is everything is handled within the family, and I think that's not necessarily valued outside of that community. If you arrange an appointment with someone and the whole family turns up, it's like, “Woah, what's going on here? You know, how is this managed?” And it becomes a safeguarding issue, when actually that is how it's managed, and very often you need to get the whole family on board before you can start working with an individual. Because within the GRT communities, individuals do not exist outside of their families. Even what we're saying about language, a lot of the GRT community who live in England now speak English, but the words that they use for mental health are very different.   You talk about mental ill health, that translates as psychosis in the GRT community, whereas if you're talking about depression and anxiety, somebody might say that they've got bad nerves. So, if you come up and say, “We're dealing with mental health now,” people would say, “Well, I don't have psychosis, I don't have that, this is not an issue for me.” And it's like you're speaking different languages even though you're using the same words.  Naimah: From what all of you have said as well, it does sound like there are a lot of similarities in the barriers in each of the different cultural communities.  I wanted to move on to ask about what strategies have been effective at engaging these diverse communities in healthcare research and decision making processes.  Aman: There are a number of ways I've seen best practice take place in regards to kind of community engagement. The approaches have been one of two approaches. One, either inviting the community to come to your spaces, i.e. organising events or having opportunities where people can engage with your service. Or the alternative approach, which I think is actually more effective, is actually going to the spaces where communities are most familiar with. So, whether that's holding a focus group at a community centre, at a church or at a mosque, or engaging in coproduction with a community organisation, to come together, to come up with an idea of how to best engage communities. And I also feel like there's a difference between PPI, patient and public involvement, versus community engagement.   And those are the two major approaches that I've seen when it comes to community engagement, and I'm a big advocate of community engagement, because you're going into spaces which are authentic to the very communities that we are hoping to engage, but you're going into an unfamiliar environment as opposed to bringing that community into an unfamiliar environment, where they might be a bit guarded with what they want to share and how comfortable they feel. So, those are some reflections on good practices in community engagement.  And I think one of the key things that we need to do is understand who are the key community leaders within that community, ‘cos it's one thing being within that community, and being able to speak about that community are two different things altogether. So just to articulate what I mean by that, I live in Luton, but I've just moved to Luton two months ago, so if you ask me about what life is like in Luton, I'll be able to speak about my experience, but if I was to live here for 20, 30 years then I'd be in a better position to speak about how people in Luton live and what their experiences are like, and that's two different perspectives you're going to get. So, it's really important to engage community leaders who are really well embedded within the communities, who are attached to organisations or institutions which are well trusted in the community as well, so that we can get a wider perspective of how communities feel about genomic medicine and accessing services that we want people to engage with.    Naimah: Thanks Aman. I think you made a couple of really good points there, and I think you kind of have this overarching feeling of building trust, which is what Moestak mentioned in the previous question as well. I thought maybe now would be a good time to discuss your first responders project, Aman, if you could tell us a bit about that. It'd be good to hear the kind of developments from that community work.  Aman: Yeah, so one of the ideas that came about from engagement actually that we had with some community leaders within the Muslim community, primarily some imams, they heard about the work of Genomics England, they heard about the work of research in particular, and they were really keen to get involved even further, but they were honest in saying that, “I know very little about this space. And it's one thing for me not to know much, but then if I don't know anything then I'm not able to then advocate for this within the community. So, two things you need to help me with. One, help me understand this space, but also allow me to then be able to advocate for services or information that my community can benefit from.”  So, that's where the inception of this first responders idea came about. The idea being that community engagement happened with some imams from all across the country, where we trained them to understand a bit more about genomics, and genomic healthcare and medicine, but also to be able to navigate a number of scenarios that they may face in the community. For example, there's a mother who has been recommended by their GP to go see a genetic counsellor, but they're really worried about broaching that conversation with their husband or their family, because of the challenges that they may face. So, how would you support someone in the community when that scenario comes up? Or for example, someone like Genomics England or Our Future Health or another organisation has approached you about a research study, and they want to engage your community, how would you have that conversation with that particular organisation, advocate for those health programmes within your community?  So, we just presented a number of scenarios. But I think the main thing that we ended with was giving the imams in this particular incident the ability to signpost to services, be it helplines that are available for communities to access more information, or websites that people can access in order to understand more information about different issues to do with health conditions, or whether it be better understanding issues like cousin marriages or kind of accessing genetic testing.  Naimah: That sounds like you're empowering the leaders to advocate for healthcare and share this with their communities through this work. I wonder, Anna, is that something that you could do in the GRT community as well, like empower the leaders of the family to disseminate these healthcare messages, and how would we do that?  Anna: Yeah, I think so. I think a lot of it would need to be outreach, and there are people out there who can help bridge that gap. For example, there's a great team called Family Friends & Travellers, and if you get in contact with them and let them know which community you'd like to go into, they can help arrange, or they will come with you to go into that community. Because the GRT community, you know, is very mistrustful of anyone coming in, and rightly so. It was only in 2011 that they were included on the national census as an option to say you're from that community, so I think there's massive mistrust there of anyone coming into the community.  So, if you want to engage the leaders of the families or of the communities, you're going into a settled traveller site, there will usually be somebody who is in charge of that site, not officially, but maybe their family might be the biggest family or they might be the most important family. And there are people out there who will allow you to start to engage with that person, who can then disseminate the information. But it needs to be outreach care, and the information that you disseminate, it needs to be tailored to people who have left school at primary age, who don't have the skills to read or write, or to manage appointments or read prescriptions, or have access to that type of healthcare. That's where it really needs to be tailored.  And I think confidentiality as well needs to be tailored a lot, because gossip and reputation and shame is huge in the GRT community, and if you are seen to be engaging with someone outside of the community, that is something that can bring a lot of shame to you and your family, so it needs to be handled really, really carefully.  Naimah: Just to kind of go along with this theme of trust that you've all now mentioned, Moestak, I wonder if you could maybe comment on what strategies can healthcare organisations and researchers employ to build trust with these communities who have historically been underserved or mistreated?  Moestak: Yeah, I think I mentioned earlier about the hierarchy of power around superiority and also mistrust of medical professional generally, and I touched there on how safeguarding concerns are triggered on not understanding cultural norms and practices within communities, and misconstruing that with safeguarding. There is generally that mistrust is there. And I think what Aman touched on there is really the importance of asset based approaches, and really building on transparent and really embedding transparent and inclusive practices from the onset. I mean, if we talk about coproduction, true coproduction is really creating a power balance where there's no hierarchy. It's an empowering model. It empowers both the researchers or the person that comes in, but also the communities that participate, and you all start on the same level, on the same outcomes and the same goals and aims that you want to achieve.  And I think it's important to embed those kind of approaches, and it's Covid-19 – I mean, we took part in Bristol in King's Fund research around the community champions model. It's exactly that, about engagement, about community driving their own solutions, and being able to collectively collaborate, drive their health piece forward, but also increase the capacity of communities. We worked with clinicians who come from those communities, and it's no surprise that the uptake of covid-19 vaccine increased as a result of working with those trusted voices.   Quite often, those really effective programmes and engagement often are not funded adequately. They're not sustained. And what happens is that we constantly are having to rebuild and restart, and that really does affect trust as well with communities. And when something works, why not build on it? And even now with that Covid-19 learning from the community champion model, the resource is not there anymore. It's not valued anymore, sadly. That in itself is a risk, I think, in building the trust, but also the strength to continue that work and adapt in other ways around genomic medicine, and even increasing and diversifying the genomics data pool, helping communities understand and drive that. And that first responders project, communities being trained to capacity build and then being able to drive that within their communities, that's the only way that we're going to have effective strategies.  Aman: I think adding onto what's been mentioned, with regards to building trust, it's really important to understand the motivations of communities, and to understand what messaging is going to resonate with different communities, and it's going to be a different message for each community. You can't have the same approach for all communities. A recurrent theme that I've come across when engaging different communities is this difference between messaging which is individualistic and then messaging which is about the community and more the collective message, and how that resonates a lot more with certain communities that I've engaged with, particularly within Muslim communities. And that's something that I think is a bit untapped in regards to kind of any materials that are created, be it posters or videos or any content looking to reach out to communities.  When we did some focus groups with some communities in Watford, who are primarily from the Pakistani community but also other parts of Asia in that region, the biggest response or biggest positive response that we got was when we posed the question, “If you were to know that people who look like you, from wherever your parents are, family may be from, would you be motivated to take part in that research?” And the biggest yes came on the back of that question. And that speaks to the fact that, “If I know that my family or my community, not just in the UK but abroad can benefit, then that would really motivate me and build trust that actually you're not just here to benefit me as an individual, but you're here to benefit my community as a whole, and therefore, yes, I'm going to be more trusting of this programme and be more motivated to take part.”  Naimah: I just wanted to go briefly back, Moestak, you mentioned cultural norms, and I wanted to talk about the cultural norm in societies where maybe people may marry someone from the same ancestor, and what the societal fallout from these practices might be.  Moestak: The stigma and the stereotypes often for communities comes from those beliefs and messages that are often sometimes not even backed up with scientific evidence. It can be seen as Islamophobic sometimes of Muslim communities that practice that. But also I think what's important to understand is that concept around hereditary conditions and how that can determine one's health, and it's not really fully appreciated or desired. And so as a result, for example, a lot of people refuse to even have those early onset maternal testing for the foetus. My personal experience, I have three children, teenagers now, and I refused those tests as well, because my belief and my religious beliefs would kind of not align with being able to terminate a foetus if there were some genetic conditions. And so I think that is often not understood and made very clear to communities, and build on their beliefs and attitudes and values. And so those are the kind of cultural norms that are not fully understood.  But also the opposite side of that actually around being able to prevent a good life for somebody or a bad life for somebody, and being able to prevent genetic conditions is also part of the religion on the flipside, but again it's not creating that link. That cultural beliefs is not understood. I think also the community implications around the stigma. I mean, autism's a big issue in the Samali community, and I remember years ago when I was working in education, we had a big issue around even acknowledgement of diagnosis and referrals, and it's because of the stigma. Those perceptions do exist within communities that if someone has a genetic condition or ill health or a disease, it's almost like being a black sheep in the community. And so it's being able to build on those desires of the community wanting to be healthy and well, I think is not often understood.  Naimah: And do you think it's partly as well education of healthcare professionals to communicate in a really culturally sensitive way?  Moestak: Yes, exactly, that's exactly what it is. It's missed opportunities really that we can build on. In that particular example of autism within the community, I was able to do a really positive piece of work with the community, and building on their interest and their skills, but using my own lived experience and understanding and knowledge, and being able to inform that within education sector but also the health sector, and providing that training and upskilling. And there is unfortunately a lack of diversity within the workforce if you look at the NHS. The lower level kind of cleaning and porter staff are ethnic minorities. And so it is about using those clinicians, as I mentioned earlier, that are coming from those communities are the forefront.  We've recently had a really positive piece of work in Bristol around let's talk about MMR, and we had a cohort of unvaccinated community, a Somali community, young people between the age of 16 to 25, and we worked with a Somali clinician, who led on that piece of work, and it was absolutely amazing. The young people as a result trusted her information and took up – but again also another thing that's important is that a lot of data in the medical system is missing. I for one migrated here from the Netherlands, where I came there as a refugee at the age of three years old. My medical history is completely missing in both the UK records but also in the Netherlands, so I didn't know if I had MMR vaccine. So, it's a lot of gaps in information that people have, newly arrived communities that still need to constantly be updated and informed and education awareness raised with those communities.  Naimah: Anna, I wonder if you wanted to add anything onto that point.  Anna: It's really difficult with that mistrust and sort of how closed the GRT community is to getting that information in, and I think to getting that information understood as well and to make it seem like it's important. Because family is the most important thing, people are accepted the way that they are. You know, if we're talking about autism, people are accepted the way that they are, and it is a bit like, you know, “There's nothing wrong with my child, how dare you suggest that there is?” That testing isn't done because the access to healthcare is so difficult, because people can't register with GPs, because they can't access maternity care, they can't access postnatal care. Because they can't register with the GP, they're not on the system, and then the records don't exist. Still now there's birth records and death records that do not exist for these people within the communities, never mind medical history throughout their lives.  Naimah: I think it really highlights a lot of gaps, doesn't it? Aman, do you want to add anything to that question?  Anna: Your opening remarks is that it's a cultural norm in all societies, and we see even within the royal family in the UK, that it seems to be that any disparaging comments are targeted towards certain communities, and even then unfairly. I mean, often it's associated with Muslim communities, but I would say the majority of Muslim communities don't practice marrying someone from within the same ancestor. It's certain cultural communities who do practice this. Having said that, even that practice shouldn't be seen in a disparaging way, because it's how those communities live their lives, and so we should be respectful of that and not speak in any way disparaging towards that community. And I think we have responsibility – ‘cos obviously nationally the conversation then moves onto increased risks of genetic disorders, and so we should be very matter of fact about what the percentage increase is when it comes to the likelihood of genetic disorders within families who marry with the same ancestor.   Because what happens is, if we're not very clear with what the actual facts are with regards to the increased risk of genetic order then even within the community which practices marrying someone from the same ancestor, that figure can be inflated, and so this perpetuates fear and perpetuates the stigma even more. Whereas if we are just matter of fact, “This is the increased risk of genetic disorders,” and leave it there, then the communities can decide and they'll have a more informed position. I think the figures are an increase from two to six percent increase, but if you were to ask people within the community, “What's the increase of genetic disorders if you're marrying someone from the same ancestor?” they might think it's 40 percent or 50 percent or a really high figure. So, that's something that we need to work towards better understanding, which will lead to removal of that stigma as well.  Anna: Again, that's something that we see in the GRT community as well, there's been research done by a woman called Sally Anne Lynch into cousin marriage within the Irish travelling community, and when they tested people, they found more than 90 genetic conditions that are present within people's DNA within that community that just aren't tested at birth. And I think, you know, you're right, it's something that is not talked about, because outside of these communities it's seen as wrong and it's not seen as something that's normal. It's seen as abnormal. But within this community, it is very normal and it's very accepted. But then the testing isn't done because of the access to healthcare.  Naimah: I think it just seems like it does kind of boil down to education and educating healthcare professionals that it is kind of normal practices. Aman, did you want to add something else?  Aman: Yeah, Anna made a really good point about testing. I think there's something that is a gap in the service that we probably don't provide more widely is that, when it comes to people who practice marriage within the same ancestor in other countries, testing is very normal. So, I know there's many countries around the world where it's very standard practice and even a requirement in certain countries that you must be tested before you get married, and so maybe that's something that we can learn from in the UK.  Moestak: I think it's important to understand that some communities, decision making of consent is sometimes done by the head of the family, and I think that that is not fully understood as well, and often can be a barrier to participation. And I think that there's an element of empowerness that is needed, particularly around women that need that empowerment model around consent of decision making around their testing and genetic testing, and just medical consent.  Naimah: That's an excellent point as well, thanks Moestak.  So, I know we've touched on aspects of this already, but I wanted to finish on this question, how can meaningful community engagement foster trust and collaboration in genomic research and healthcare initiatives?  Aman: I think one of the things that I would really improve is just awareness around genomic healthcare and genomics in general. It's a learning curve that's going to happen within communities at different rates, and we need to be mindful of this because that rate will determine also health inequities that are experienced by those communities as well. So, we need to make sure that we are adequately approaching all communities to the best of our abilities. Having said that, target maybe more resourcing and educational opportunities for communities which have been underrepresented in health research and in genomic health research as well primarily, so we need to sort of prioritise certain communities in regards to our community outreach, because then we'll dispel any myths that people might have and work towards chipping away at the mistrust that certain communities may feel towards just healthcare in general, but more particularly about genomic healthcare, ‘cos genomic healthcare brings up some unique challenges and some unique perspectives within communities.  So, there's a number of fears about the future, but also misgivings about healthcare in the past as well that we need to acknowledge. So, by having community engagement initiatives, which are prioritised from the beginning and not just an afterthought, we can go a long way towards getting over some of the challenges of the past, but also not making new challenges for us in the future.   Anna: I think as a whole, the UK has got a long way to go with building trust with the GRT community. I think it's going to take some time. They still are one of the most marginalised communities. For example, in the area that I live, there was a GRT funeral going on a few weeks ago, and all the pub shut because they didn't want GRT communities in their establishments, and there is no other community or minority that that would happen with now. So, I think there is still quite a long way to go to gain the trust of the GRT community. And in terms of healthcare, I think we need to go right back to the start and learn about these communities, and understand their cultures and their practices, and how they work without that judgement. Living a nomadic lifestyle is still criminalised. There needs to be a decriminalisation around these communities before we can even start to begin to work out how to go there and allow them to access healthcare and knowledge and information around genetic conditions, and around health and mental health.   It's going to be a very long road from here, but I think what we can start doing is to start that destigmatisation. If you are a doctor and somebody turns up in your surgery identifying as someone from the GRT community, understanding the background they come from, and not having all those prejudices, you know, which is very difficult to do, to get rid of those thoughts that you already have about someone. I think we need to make a real effort to start, and I think there needs to be changes within the NHS in order for people to access healthcare better. I think the resources that are given and the information that goes out needs to be more specifically tailored to these communities if that's who you're trying to engage with, because there's so much that goes on in the community that's not known outside of the community, and it's not spoken about, and within different GRT communities as well. You know, there are different GRT communities all around the UK, and what goes on in them is not known to other GRT communities either.   So, it's about being specific with the information that you're getting out, with who you're actually targeting. And I think a bit like we were saying earlier, it's the women, you know. The women have childcare responsibilities almost all of the time, and they are the ones who bring up the children, but they're not necessarily the ones that make the decisions about the children or the child healthcare. You know, women are expected to do jobs in the morning. Women are not available before 11 o'clock in the morning. So, think about when you're making appointments for. Think about when you're going. I think it is going to be a long, long road before we get there, you know, with building trust and getting the information out there, but I think we can make a start.  Naimah: Yeah, it does seem like there is lots of ways we can start tackling it slowly. Moestak, I wonder if you had anything you wanted to add.  Moestak: As a public health specialist, you know, we've not been taught genomic medicine or genomic health at all in terms of how that can benefit and radically change the NHS and improve determinants of health, so that's a massive gap of knowledge within the healthcare sector and professionals. But I think in terms of addressing the historic mistrust, I think there needs to be an acknowledgement and a real openness around the historic, you know, abuse and unethical practices that have existed within health. There are other countries that are much more advanced in that and really embedding that within communities through pledges. That long-term kind of piece of work for me is missing. You know, it's that wider education piece that's missing that needs to be really embedded in the culture.  But I think also investing in the infrastructure in the community. Like far too often, if the long-term vision is not there, communities are reluctant to get involved and have trust within that, so I think that's an important part as well. And I think it's also about demonstrating the benefits of genomic medicine. I think that needs to be done in a community level way, through storytelling. I know that there's now a lot of development around cancer treatments around genomics, but I think it's about having those people who have those lived experiences from different communities to be able to share the benefits and demonstrate that through their way, and being appropriately reimbursed as well. I think that's really important.  I think generally, I think there's a long way we've got to go. I'll never forget when I went to Vancouver on a conference around health, and there was a lot of reconciliation there, where there was really acknowledgement, and the indigenous communities there that have a lot of health disparities were able to kind of overcome some of that and start building as a community and addressing tackling health inequalities because that trust was built and that acknowledgement from high up, from government level, all the way trickled down to local. I think also patient centred approaches around – like we mentioned, we talked about linking the cultural norms and the values and the beliefs that people have, and the skills and the assets that they have to be able to lead on these solutions themselves, that really needs to be embedded to build trust.   Aman touched on the perception around what could be done with genomic data. I don't know if Aman wants to elaborate a bit on that, but that's really important. It's a big barrier. It's how do we create transparent ways of storing data, but also use various ways of communication. It doesn't have to be traditional reports. It could be through podcasts. It could be like community messaging.   Naimah: Yeah, I think that's a really important point. Aman, did you want to come in on that?  Aman: Yeah, I think sharing the stories of the past in an appropriate setting, in an appropriate manner as well – ‘cos it's a bit of a double edged sword, ‘cos you don't want to scare people who are unfamiliar with these stories, but at the same time there's a moral responsibility for all of us involved in this space to speak about these issues, one from the perspective of acknowledging what's happened in the past, so then people feel like, “Okay, you're not trying to hide anything here,” but from the perspective of also that we need to make sure that we don't repeat some of the mistakes in the future, and that as people involved in genomic healthcare and involved in this space, that we're cognisant of these misgivings in the past, and we're cognisant of our responsibility to safeguard communities in the future.  Naimah: Okay, so we're going to wrap up there. Thank you so much to our guests, Anna Smith, Aman Ali and Moestak Hussein for joining me today as we discussed the barriers to access to genomic medicine for diverse communities, and the impact it has on these communities. If you'd like to hear more like this, please subscribe to Behind the Genes on your favourite podcast app. Thank you for listening. I've been your host and producer, Naimah Callachand, and this podcast was edited by Bill Griffin at Ventoux Digital.

Zoë Kravitz joins Anna Smith to discuss her directorial debut, Blink Twice, while Anna also reports from the 2024 Edinburgh International Film Festival, where she speaks with Daisy-May Hudson about her feature debut, Lollipop. First up, Anna welcomes actor turned writer, director and producer Zoë Kravitz, best known for her roles in ‘The Batman' and in TV series ‘Big Little Lies' and ‘High Fidelity', onto the podcast. With Anna, Zoë discusses the feminist messaging in her slick thriller ‘Blink Twice'. She talks about casting the wonderful Naomi Ackie as Frida, a cocktail waitress who catches the eye of tech billionaire Slater King (Channing Tatum) and is transported to his private island for sundrenched luxury, or so she thinks… Zoë also tells Anna about the writing process behind ‘Blink Twice', originally titled ‘Pussy Island', reveals her relief at turning up to set as the director without having to worry about what she looks like, and describes her approach to capturing women on camera to produce a disturbing and believable depiction of gender and power among the megarich. Next up, Anna reports from Edinburgh International Film Festival, where Girls On Film partners on the festival's Closing Night sçreening of the powerful feminist music documentary, ‘Since Yesterday: The Untold Story of Scotland's Girl Bands'. Anna catches up with first-time feature director Daisy-May Hudson whose film ‘Lollipop' is a heartbreaking but hopeful depiction of a mother (Posy Sterling) who battles to regain custody of her children after coming out of prison. Daisy-May speaks about the fierce maternal love of her protagonist Molly, what happens when children are required to parent, as well as the challenges faced by a first time director. Plus: karaoke as a symbol of working class joy! Anna also hears from Karen Needham and Col Needham from the IMDb, plus director of the BFI's filmmaking fund Mia Bays and costume designer Rachael Fleming about their highlights from the EIFF 2024. Stay tuned for upcoming episodes of Girls On Film as we move into autumn and host Anna Smith heads to Sea Change Film Festival 2024. Find out about their festival, dedicated to women in film at https://screenargyll.co.uk/sea-change-2024/ Films mentioned in this episode: Timestalker - Alice Lowe Xibalba Monster - Manuela Irene Since Yesterday: The Untold Story of Scotland's Girl Bands - Blair Young, Carla J Easton Blink Twice - Zoë Kravitz Rosemary's Baby - Roman Polanski To Kill A Wolf - Kesley Taylor Sunlight - Nina Conti Lollipop - Daisy-May Hudson Blink Twice was released in the UK by Warner Bros. Pictures on 23rd August, 2024 Lollipop had is world premiere at the 77th edition of Edinburgh International Film Festival (on August 20th) Since Yesterday: The Untold Story of Scotland's Girl Bands will hit UK cinemas from 18th October and Glasgow girl band Sophisticated Boom Boom will reform for one night only at a special screening of the film in Glasgow on the night of the release. For more information visit sinceyesterdayfilm.com Sign up to the Girls On Film newsletter below: http://eepurl.com/iEKaM-/ or email girlsonfilmsocial@gmail.com to be signed up. Become a patron of Girls On Film on Patreon here: www.patreon.com/girlsonfilmpodcast Follow us on socials: www.instagram.com/girlsonfilm_podcast/ www.facebook.com/girlsonfilmpodcast www.twitter.com/GirlsOnFilm_Pod www.twitter.com/annasmithjourno Watch Girls On Film on the BFI's YouTube channel: www.youtube.com/playlist?list=PLX…L89QKZsN5Tgr3vn7z Girls On Film is an HLA production. Host: Anna Smith Executive Producer: Hedda Lornie Archbold Producer: Charlotte Matheson Intern: Jade Evans Audio editor: Benjamin Cook House band: MX Tyrants © HLA Agency

For our 180th episode, Girls On Film gets the festival buzz at Latitude in front of a live audience! First up we hear from host Anna Smith as she boogies to the song ‘Girls On Film' sung by one of the Latitude headliners, Duran Duran! Plus, Anna had the chance to meet some band members after the show. Also in this episode, Anna is joined by Rachel Ramsay, the co-director of Copa 71, to discuss her brilliant documentary on the scandalously overlooked Women's World Cup which took place in Mexico City in April 1971. With Anna, Rachel discusses the process of uncovering this compelling forgotten story and reaching out to the women from Argentina, Mexico, Denmark, France, England and Italy who played in the tournament to participate in the doc. Rachel shares some of the triumphs and challenges of creating a multilingual documentary that positions older women as subjects. She also talks about the ‘archaeologist's mission' of scouring the archives to bring Copa 71 to the big screen. Copa 71 can be seen in an abridged version on BBC iPlayer. Listeners in the UK can stream it in full on iTunes, Sky, Google, Amazon, Microsoft, BFI Player, Virgin and Dogwoof on demand. Other films mentioned: Calendar Girls Bend It Like Beckham Sign up to the Girls On Film newsletter below: http://eepurl.com/iEKaM-/ or email girlsonfilmsocial@gmail.com to be signed up Become a patron of Girls On Film on Patreon here: www.patreon.com/girlsonfilmpodcast Follow us on socials: www.instagram.com/girlsonfilm_podcast/ www.facebook.com/girlsonfilmpodcast www.twitter.com/GirlsOnFilm_Pod www.twitter.com/annasmithjourno Watch Girls On Film on the BFI's YouTube channel: www.youtube.com/playlist?list=PLX…L89QKZsN5Tgr3vn7z Girls On Film is an HLA production. Host: Anna Smith Executive Producer: Hedda Lornie Archbold Producer: Charlotte Matheson Intern: Jade Evans Audio editor: House band: MX Tyrants © HLA Agency

Anna Smith speaks to director Susan Seidelman about her highly anticipated new memoir, Desperately Seeking Something, as well as Rosanna Arquette, who starred in Seidelman's 1985 cult classic, Desperately Seeking Susan. Anna begins by speaking to Susan Seidelman about her memoir and her recollections of working with Madonna and Rosanna Arquette. Susan talks about the explosion of Madonna's stardom during filming, sharing some of her cherished memories from that time. She reflects on the enduring cultural impact of Desperately Seeking Susan as well as more broadly on her career. Next, Anna speaks to Rosanna Arquette about her memories of starring in Desperately Seeking Susan. Rosanna talks about the celebrated female friendship between her and Madonna's much-loved characters in the film, and how that translated into their off-screen friendship, sharing some of her hilarious highlights of working with Madonna. Rosanna also talks about the Time's Up movement, discussing her powerful allyship with the other women who were amongst the first to speak out against Harvey Weinstein, and sharing insights into the monumental impact that it had on her life. Susan Seidelman's memoir Desperately Seeking Something: A Memoir about Movies, Mothers, and Material Girls is published by Macmillan Publishers and is available online and in bookstores in the US, and through Amazon and Blackwells in the UK. UK Blackwells: https://tinyurl.com/4xfnn8ud UK Amazon: https://tinyurl.com/2z6uakkt US Macmillan: https://tinyurl.com/3z8hnp9c US Amazon: https://tinyurl.com/26ub6sas Trigger warning: The interview with Rosanna Arquette in this episode contains potentially upsetting conversations relating to Harvey Weinstein. This episode also contains very strong language. Sign up to the Girls On Film newsletter below: http://eepurl.com/iEKaM-/ or email girlsonfilmsocial@gmail.com to be signed up. Become a patron of Girls On Film on Patreon here: www.patreon.com/girlsonfilmpodcast Follow us on socials: www.instagram.com/girlsonfilm_podcast/ www.facebook.com/girlsonfilmpodcast www.twitter.com/GirlsOnFilm_Pod www.twitter.com/annasmithjourno Watch Girls On Film on the BFI's YouTube channel: www.youtube.com/playlist?list=PLX…L89QKZsN5Tgr3vn7z Other films mentioned: Desperately Seeking Susan Smithereens After Hours Basic Instinct Thelma and Louise Midnight Cowboy The Graduate Sex and the City The Sopranos She Devil Baby It's You The Linguini Incident Searching for Debra Winger

Where does rainwater that doesn't soak into the ground go? And why wouldn't it soak into the ground in the first place? In this CityLife episode, host Beverly Thompson talks with Michelle Woolfolk and Anna Smith from the Stormwater Quality Division about why stormwater quality in Durham affects us all and what you can do to help protect our streams and creeks. About CityLifeCityLife, a talk show that features information on current City issues and upcoming events, airs daily on Durham Television Network (Spectrum ch. 8, Frontier ch. 70 and AT&T U-verse ch. 99)  and on Roku, Apple TV and Amazon Fire TV on the free Boxcast app. For more information about the City of Durham, call (919) 560-4123, like on Facebook, and follow on Twitter, Instagram, and Nextdoor. City Life is now an audio podcast! Find it on iTunes or wherever you get your podcast. 

In this episode, Anna Smith speaks to the creators behind Prime Video's new series, My Lady Jane, including creator/writer Gemma Burgess and writer Meredith Glynn, as well as the executive producer of My Lady Jane, the legendary Laurie MacDonald. Anna begins by speaking to Gemma Burgess and Meredith Glynn about the creation of the series, including the inspiration they found in their shared love of films from the 80s and 90s, and how keen they were to bring the playful tone of those films into the series. They discuss their exciting revisionist approach to history and the importance of the representation of women both behind and in front of the camera. Next, Anna speaks to Laurie MacDonald, who was the co-head of Amblin Entertainment and the co-president of DreamWorks, and together with her husband has produced the Men in Black series, Gladiator, Minority Report, and The Trial of Chicago 7, as well as American Beauty and Free Solo. They talk about what first attracted her to adapt the book, about the depiction of women through a female gaze, and the way that the production celebrates diversity. She speaks more broadly about how things have changed for women in both the industry and gender dynamics and offers advice to listeners who are looking to work in the film industry. Thank you to our partners for this episode, Prime Video. My Lady Jane will be available on Prime Video on 27 June 2024. Sign up to the Girls On Film newsletter below: http://eepurl.com/iEKaM-/ or email girlsonfilmsocial@gmail.com to be signed up. Become a patron of Girls On Film on Patreon here: www.patreon.com/girlsonfilmpodcast Follow us on socials: www.instagram.com/girlsonfilm_podcast/ www.facebook.com/girlsonfilmpodcast www.twitter.com/GirlsOnFilm_Pod www.twitter.com/annasmithjourno Watch Girls On Film on the BFI's YouTube channel: www.youtube.com/playlist?list=PLX…L89QKZsN5Tgr3vn7z Other films and television series mentioned: The Boys (Eric Kripke) Buffy the Vampire Slayer (Joss Whedon) Blackadder (Rowan Atkinson, Ben Elton, Richard Curtis) The Princess Bride (Rob Reiner) Robin Hood Prince of Thieves (Kevin Reynolds) Ladyhawke (Richard Donner) A Knight's Tale (Brian Helgeland) Shakespeare in Love (John Madden) Romeo and Juliet (Baz Luhrmann) Lady Jane (Trevor Nunn) Bridgerton (Chris Van Dusen) Still Star-Crossed (Heather Mitchell) Back to the Future (Robert Zemeckis) Clueless (Amy Heckerling) Crocodile Dundee (Peter Faiman) Broken Arrow (John Woo) Young Guns II (Geoff Murphy) Twilight (Catherine Hardwicke) My So-Called Life (Winnie Holzman) Men in Black series (Barry Sonnenfeld) Gladiator (Ridley Scott) Minority Report (Steven Spielberg) Trial of the Chicago Seven (Aaron Sorkin) American Beauty (Sam Mendes) Free Solo (Jimmy Chin, Elizabeth Chai Vasarhelyi) Girls On Film is an HLA production. Host: Anna Smith Executive Producer: Hedda Lornie Archbold Intern: Jade Evans Audio editor: Emma Butt House band: MX Tyrants © HLA Agency

Every Friday, we're highlighting a panel from the TBRCon2024 all-virtual SF/F/H convention, looking back on the incredible variety of discussions that we had the honor of hosting. This week, join moderator/blogger Mihir Wanchoo and authors Anna Smith Spark, Casey Blair, Dyrk Ashton, Olivia Atwater and Kian N. Ardalan for a TBRCon2024 panel on "Cozy Fantasy's Rise - Grimdark's Demise?" SUPPORT THE SHOW: - ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Patreon⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ (for exclusive bonus episodes, author readings, book giveaways and more) - ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Merch shop⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ (for a selection of tees, tote bags, mugs, notebooks and more) - Subscribe to the ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠FanFiAddict YouTube channel⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, where this and every other episode of the show is available in full video - Rate and review SFF Addicts on your platform of choice, and share us with your friends EMAIL US WITH YOUR QUESTIONS & COMMENTS: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠sffaddictspod@gmail.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ FOLLOW SFF ADDICTS: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠FanFiAddict Book Blog⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Twitter⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ MUSIC: Intro: "⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Into The Grid⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠" by MellauSFX Outro: “⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Galactic Synthwave⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠” by Divion --- Send in a voice message: https://podcasters.spotify.com/pod/show/sff-addicts/message

In this episode of Girls On Film, Anna Smith highlights some feminist favourites from Sundance London Film Festival. She catches up with director Shuchi Talati, whose debut feature Girls Will Be Girls follows headgirl Mira (Preeti Panigrahi) as she strives to get As in the classroom and the bedroom, and struggles with a third-wheeling mother (Kani Kusruti). Anna is joined by Shuchi as well as lead actress Preeti Panigrahi as they reflect on women's filmmaking in India, reveal how they tackled intimacy on set together, and share Shuchi's initiative Undercurrent, a scheme to train women to work in the lighting department on film sets in India. Next up, Anna hears from the singer turned actress Maisy Stella, who stars opposite Aubrey Plaza in Megan Park's My Old Ass. The pair chat about what attracted Maisy to the role of 18 year old Elliott, who meets her 39 year old self while tripping on magic mushrooms and has to deal with the consequences of knowing how her teenage decisions will impact her later life. Maisy recalls the refreshing nature of Park's script, which portrays a queer lead without feeling tokenistic or trite. Finally, Anna chats to Vicky Krieps about starring in Viggo Mortensen's new feminist western, The Dead Don't Hurt. She talks with Anna about ‘becoming your own department' when your co-star is also the director, and Viggo speaks about the inspiration behind the character of Vivienne. Vicky also dispels some of the myths of progress in the film industry, while acknowledging the importance of portraying women like Vivienne in The Dead Don't Hurt in order to move towards a more feminist cinema, but also a more feminist film set. The Dead Don't Hurt is in UK and Irish cinemas now. Girls Will Be Girls will be in UK and Irish cinemas on 20 September 2024. Follow Girls On Film on social media to see release updates for My Old Ass. Other films mentioned: Flowervale Street (David Robert Mitchell) The Fallout (Megan Park) Corsage (Marie Kreutzer) Phantom Thread (Paul Thomas Anderson) The Lord of the Rings (Peter Jackson) Eastern Promises (David Cronenberg) Falling (Viggo Mortensen) Find out more about Undercurrent below: https://www.undercurrentfilmlab.com/ Sign up to the Girls On Film newsletter below: http://eepurl.com/iEKaM-/ or email girlsonfilmsocial@gmail.com to be signed up Become a patron of Girls On Film on Patreon here: www.patreon.com/girlsonfilmpodcast Follow us on socials: www.instagram.com/girlsonfilm_podcast/ www.facebook.com/girlsonfilmpodcast www.twitter.com/GirlsOnFilm_Pod www.twitter.com/annasmithjourno Watch Girls On Film on the BFI's YouTube channel: www.youtube.com/playlist?list=PLX…L89QKZsN5Tgr3vn7z Girls On Film is an HLA production. Host: Anna Smith Executive Producer: Hedda Lornie Archbold Producer: Charlotte Matheson Intern: Jade Evans Audio editor: Jack Howard House band: MX Tyrants © HLA Agency

Ep 176: Cannes Film Festival 2024, we review Bird, Megalopolis, The Girl With the Needle, and more This episode of Girls On Film comes from Cannes, where Anna Smith speaks to Jane Crowther and Wendy Mitchell about their Film Festival highlights. Anna hosts the very first Girls On Film party at The Members Club, and speaks to some of the guests about their work at the festival and which films they've enjoyed. First up, Anna takes us through the soundscape of Cannes and walks the red carpet for Emilia Perez. Anna joins the Women in Film and TV yacht party, to hear CEO Katie Bailiff's speech, before heading to MUBI's beach party. It's a tough job, but someone's gotta do it. Then Anna invites film journalists Jane Crowther and Wendy Mitchell to discuss the films they've seen in Cannes so far, which include Furiosa: A Mad Max Saga, Megalopolis, The Girl With the Needle and On Becoming a Guinea Fowl, as well as Andrea Arnold's Bird, Wild Diamond, and feminist comedy horror The Balconettes. Jane talks about her new role as editor-in-chief of Hollywood Authentic, a new luxury, glossy magazine, and Wendy discusses her portfolio of projects including the upcoming Sundance London, and San Sebastian Film Festivals. Wendy and Anna are both on the Palm Dog judging panel for Best Canine on screen, so naturally the conversation turns to the various dogs in films at Cannes. They also discuss the impact of #MeToo and Time's Up, and recent changes at the Cannes Film Festival, including the arrival of signs stating that harassment won't be tolerated. Finally, we join Anna at The Members Club for Girls On Film's own Cannes party. We hear from a few of the guests, who include Akua Gyamfi of The British Blacklist and Dame Heather Rabbats of Time's Up, who talk about the launch of their new initiative around appropriate hair and makeup for diverse requirements on set. Anna also speaks to Nicole Weis of IFC Films, producer and comedienne Ronni Ancona, director Rachel Ramsay, and The Girl With the Needle co-writer Line Langebek Knudsen, and our wonderful supporter, IMDb founder Col Needham. With special thanks to our sponsors for the party, Rebecca Hawkes at Elstree Studios, HLA Agency, Col Needham at IMDb, and JoJo Dye at JJD Consulting. And with gratitude to our lovely partners for this episode, Vanessa Smith and Peter Brewer, for their continuing support of the podcast. Films mentioned in this episode: Anatomy of a Fall The Balconettes Bird, Andrea Arnold Black Dog Emilia Perez Furiosa: A Mad Max Saga The Girl With the Needle Megalopolis On Becoming a Guinea Fowl Saltburn Santosh The Second Act The Surfer When the Light Breaks Wild Diamond Sign up to the Girls On Film newsletter below: http://eepurl.com/iEKaM-/ or email girlsonfilmsocial@gmail.com to be signed up Become a patron of Girls On Film on Patreon here: www.patreon.com/girlsonfilmpodcast Follow us on socials: www.instagram.com/girlsonfilm_podcast/ www.facebook.com/girlsonfilmpodcast www.twitter.com/GirlsOnFilm_Pod www.twitter.com/annasmithjourno Watch Girls On Film on the BFI's YouTube channel: www.youtube.com/playlist?list=PLX…L89QKZsN5Tgr3vn7z Girls On Film is an HLA production. Host: Anna Smith Executive Producer: Hedda Lornie Archbold Producer: Charlotte Matheson Intern: Jade Evans Audio editor: Nic Wassell House band: MX Tyrants © HLA Agency

What role does cultural exchange play in creating balanced perspectives? This week, host Roger Ream is joined by Anna Smith Lacey, executive director at the Hungary Foundation and alumna of TFAS summer programs in Prague and Washington, D.C., to explore her remarkable leadership journey from Budapest to Washington, D.C. Anna reflects on her upbringing in post-communist Hungary and its influence on her understanding of liberty, highlighting the transformative impact of TFAS programs in shaping her views on socialism and freedom. Through nuanced discussions, Anna provides insight into the intricacies of cultural exchange, offering a distinct perspective on the pursuit of liberty by both Americans and Hungarians across generations.Anna Smith Lacey serves as executive director of the Hungary Foundation, an organization dedicated to strengthening the connections between the United States and Hungary. Prior to this role, she served in the Hungarian Foreign Ministry as U.S. Desk officer and as political attaché at the Hungarian Embassy. She was a contributor to the Hungarian Weekly Magazine, Heti Válasz, where she covered American politics. Anna was born and raised in Budapest, Hungary, and earned her Master's degree in International Relations at Corvinus University. The Liberty + Leadership Podcast is hosted by TFAS president Roger Ream and produced by Podville Media. If you have a comment or question for the show, please email us at podcast@TFAS.org. To support TFAS and its mission, please visit TFAS.org/support.Support the Show.

In this episode of Girls On Film, Anna Smith talks about the recent Cinema for Gaza auction with two of the women behind the initiative, Helen Simmons and Julia Jackman, and she reviews some imminent releases with film critic Rhianna Dhillon and film journalist and programmer Cici Peng. First up Anna speaks with Rhianna Dhillon about Italian box-office hit C'è ancora domani or There's Still Tomorrow. They discuss the representation of domestic violence in this neorealist-style debut from Paola Cortellesi, and pick up on the film's surprisingly hopeful feel. Next up they discuss The Fall Guy, starring Ryan Gosling as a stunt-double and Emily Blunt as a blockbuster director, which is out in UK cinemas on 2 May 2024. A recent auction raised over £260,000 for Medical Aid for Palestinians or MAP, a charity currently working in Gaza to provide immediate medical aid to those in great need. The auction was an initiative led by film critics Hanna Flint, Leila Latif, and Sophie Monks Kaufman who teamed up with publicist Hannah Farr, and filmmakers Julia Jackman and Helen Simmons. Anna talks with Helen and Julia about the initiative, who also share some insights into the highest-earning lots, which included Annie Lennox's handwritten lyrics to 1983 hit Sweet Dreams (Are Made Of This). Finally, Anna is joined by film journalist and programmer Cici Peng, who shares her thoughts on Rose Glass' Love Lies Bleeding, and Léa Seydoux's performance in the upcoming film The Beast. Cici also speaks about her recent archival work to create a programme of hidden gems at Queer East Festival, which showcases queer cinema from East and Southeast Asia and its diaspora. Films mentioned in this episode: There's Still Tomorrow / C'è ancora domani (Paola Cortellesi, 2024) The Fall Guy (David Leitch, 2024) Jungle Cruise (Jaume Collet-Serral, 2021) The Devil Wears Prada (David Frankel, 2006) Ordinary Angels (Jon Gunn, 2024) Hoard (Luna Carmoon, 2024) Abigail (Matt Bettinelli-Olpin, 2024) Bonus Track (Julia Jackman, 2024) Love Lies Bleeding (Rose Glass, 2024) The Beast / La bête (Bertrand Bonello, 2024) The River / He liu (Tsai Ming-liang, 1997) Bye Bye Love / Baibai rabu (Isao Fujisawa, 1974) You can buy Cinema for Gaza merchandise until 7 May 2024 via the links below: https://www.weareprintsocial.com/campaigns/cinema-for-gaza-2 https://www.weareprintsocial.com/campaigns/cinema-for-gaza Sign up to the Girls On Film newsletter below: http://eepurl.com/iEKaM-/ or email girlsonfilmsocial@gmail.com to be signed up Become a patron of Girls On Film on Patreon here: www.patreon.com/girlsonfilmpodcast Follow us on socials: www.instagram.com/girlsonfilm_podcast/ www.facebook.com/girlsonfilmpodcast www.twitter.com/GirlsOnFilm_Pod www.twitter.com/annasmithjourno Watch Girls On Film on the BFI's YouTube channel: www.youtube.com/playlist?list=PLX…L89QKZsN5Tgr3vn7z Girls On Film is an HLA production. Host: Anna Smith Executive Producer: Hedda Lornie Archbold Producer: Charlotte Matheson Audio editor: Elliana Jay Hamer House band: MX Tyrants © HLA Agency

APWU President Mark Dimondstein invites the APWU Organization Director Anna Smith on the show to talk about organizing in the workplace -- especially during our 2024 Organizing Campaign! Tune in to learn more about our "Build Union Power" member organizing drive.

In this episode of Girls On Film we give you a flavour of the third Girls On Film Awards, our annual celebration of women in film which this year took place at our new home, Regent Street Cinema in London. We launched the awards to celebrate excellence in women-focused films, and to honour women and non-binary filmmakers. Girls On Film provides an inclusive platform for the voices of diverse women and people of marginalised genders, and we have a mission: to bring about industry-wide change, and to work toward equal representation of women in the film industry: on screen, and behind the camera. As the saying goes: “if she can see it, she can be it”, and that's why shining a light on the great work women are making can make a real difference. Girls On Film host Anna Smith and co-founder Hedda Lornie Archbold hosted the awards together, and were joined by a stellar group of presenters to give out the awards, including Monica Dolan, Ronni Ancona, Sarah Gavron, Mia Bays, Col Needham, Mark Kermode, Nitin Sawhney and more. The mics didn't pick up all the sound as well as we'd hoped – but the pod conveys the great atmosphere in the room. We hope you enjoy the awards! For a full list of the nominees and winners, you can find the press release on the HLA Website: https://hlaagency.co.uk/category/projects/girls-on-film-awards/ Contributors to this episode include: Ronni Ancona Anthony Andrews Teanne Andrews Blair Barnette Mia Bays Suzie Davies Charlotte Dirickx Monica Dolan Jacqueline Durran Melanie Iredale Ayo Edebiri Kathryn Ferguson Jo Fernihough Kerry Fox Sarah Gavron Sarah Greenwood Priya Kansara Mark Kermode Emilie Levienaise-Farrouch Molly Manning Walker Nida Manzoor Col Needham William Oldroyd Rose Ryan Nitin Sawhney D. Smith Katie Spencer Holly Waddington Paris Zarcilla Films and television series mentioned in this episode are: ALL OF US STRANGERS AMERICAN FICTION ANATOMY OF A FALL ANOTHER BODY BARBIE THE BEAR BOTTOMS BRICK LANE EILEEN THE ETERNAL MEMORY FAIR PLAY THE FALLING FILMSTARS DON'T DIE IN LIVERPOOL HOW TO HAVE SEX JOY RIDE KOKOMO CITY LADY MACBETH MR BATES AND THE POST OFFICE NOTHING COMPARES NYAD PAST LIVES POLITE SOCIETY POOR THINGS THE POWER PREVENGE PRIDE PRISCILLA RAGING GRACE RETURN TO SEOUL ROCKS RYE LANE SALTBURN SCRAPPER SUFFRAGETTE TILL TYPIST ARTIST PIRATE KING W1A YOU WERE NEVER REALLY HERE THE ZONE OF INTEREST Become a patron of Girls On Film on Patreon here: www.patreon.com/girlsonfilmpodcast Follow us on socials: www.instagram.com/girlsonfilm_podcast/ www.facebook.com/girlsonfilmpodcast www.twitter.com/GirlsOnFilm_Pod www.twitter.com/annasmithjourno Subscribe to our newsletter by emailing girlsonfilmsocial@gmail.com Watch Girls On Film on the BFI's YouTube channel: www.youtube.com/playlist?list=PLX…L89QKZsN5Tgr3vn7z Girls On Film is an HLA production. Host: Anna Smith Executive and Show Producer: Hedda Lornie Archbold Awards Producers: Hedda Lornie Archbold, Charlotte Matheson, Lydia Scott and Anna Smith Audio editor: Benjamin Cook House band: MX Tyrants © HLA Agency

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The Moneywise Radio Show and Podcast Monday, March 4th BE MONEYWISE. Moneywise Wealth Management I "The Moneywise Guys" podcast call: 661-847-1000 text in anytime: 661-396-1000 website: www.MoneywiseGuys.com facebook: Moneywise_Wealth_Management instagram: MoneywiseWealthManagement linkedin: MoneywiseWealthManagement Guests: Anna & Austin Smith, Owners of Sage Equities website: https://sagebakersfield.com/ phone: 661-444-5665

In this episode Girls On Film is at the 20th edition of Glasgow Film Festival. Anna Smith sits down with Festival Director Allison Gardner, then has an exclusive interview with the director of Love Lies Bleeding Rose Glass, with Oscar-nominated director of The Teacher Farah Nabulsi, and with BAFTA-nominated director of Edge of Summer Lucy Cohen. First up, Director of GFF Allison Gardner picks out some of her festival highlights, from Ava DuVernay's Origin to Viggo Mortensen's The Dead Don't Hurt which she describes as a ‘feminist western'. Allison talks about the unique programming at GFF with 126 films included at the festival this year. She picks out the ‘Love is sweet oh!' strand programmed by Tomiwa Folorunso, the ‘Gestures of Memory' strand programmed by Natasha Thembiso Ruwona, and ‘What Will the Men Wear?' programmed by Rosie Beattie. Next up Anna welcomes back Rose Glass to Girls On Film, who first appeared in Episode 60 to discuss her debut Saint Maud, which also showed at GFF in 2019. This year Rose is back with her hotly-anticipated second feature, Love Lies Bleeding, which had its UK premiere as the Opening Gala film at GFF. With Anna, Rose talks about the ‘dream' casting of Kristen Stewart as moody heartthrob Lou, who meets amateur bodybuilder Jackie when she turns up in Lou's sleepy hometown. The pair fall hard for one another and Rose describes crafting their fantastical love story, with co-writer Weronika Tofilska, which has ‘one foot in reality, and one foot somewhere stranger'... Anna also speaks to Oscar-nominated director Farah Nabulsi, whose debut feature The Teacher is showing at GFF. Anna asked Farah about her journey into filmmaking, from a background in business to directing her first short The Present, which went on to be nominated for the 2021 Oscar for Best Live Action Short Film. Finally, Anna speaks with BAFTA-nominated director Lucy Cohen, whose coming-of-age film Edge of Summer tells the story of 11-year-old Evie on holiday in Cornwall in the early 1990s. When she meets local boy Adam, a mysterious discovery down an old tin mine changes everything. Lucy talks to Anna about her influences in exploring childhood on screen, citing Ratcatcher (Lynne Ramsay, 1999) and Walkabout (Nicolas Roeg, 1771), and about her excitement to be showing the film at Glasgow Film Festival. Thank you to our partners for this episode, Glasgow Film Festival. The festival runs from 28 February to 10 March. To buy tickets visit the Glasgow Film Festival website glasgowfilmfest.org/home/ Love Lies Bleeding is in UK cinemas from 3 May 2024. You can watch The Teacher in Glasgow on Monday 4 March 2024 at 6pm and Tuesday 5 March 2024 at 3.15pm. You can watch Edge of Summer in Glasgow on Friday 8 March 2024 at 8.30pm and Saturday 9 March 2024 at 3.45pm. Other films mentioned in the podcast: The Mask (Charles Russell, 1994) Origin (Ava DuVernay, 2023) The Dead Don't Hurt (Viggo Mortensen, 2024) Lousy Carter (Bob Byington, 2023) The Teacher's Lounge (Ilker Catak, 2023) Thelma and Louise (Ridley Scott, 1991) Walkabout (Nicolas Roeg, 1971) Ratcatcher (Lynne Ramsay, 1999) The Present (Farah Nabulsi, 2021) Saint Maud (Rose Glass, 2019) Girl (Adura Onashile, 2023) Daisies (Vera Chitylova, 1966) The views and opinions expressed in this podcast are those of the speakers and not necessarily those of the organisation or its affiliates. Become a patron of Girls On Film on Patreon here: www.patreon.com/girlsonfilmpodcast Follow us on socials: www.instagram.com/girlsonfilm_podcast/ www.facebook.com/girlsonfilmpodcast www.twitter.com/GirlsOnFilm_Pod www.twitter.com/annasmithjourno Watch Girls On Film on the BFI's YouTube channel: www.youtube.com/playlist?list=PLX…L89QKZsN5Tgr3vn7z Girls On Film is an HLA production. Host: Anna Smith Executive Producer: Hedda Archbold Producer: Charlotte Matheson House band: MX Tyrants © HLA Agency

Our continue their epic battle against a killer bill and Eli's puns Music by Anna Smith and Morgan Clarke Copyright Puzzle in a Thunderstorm LLC  support the show at patreon.com/danddminus

This episode features the tenth Oscar winner to appear on Girls On Film. Anna Smith hears from Academy Award winner Olivia Colman who stars opposite Jessie Buckley and Anjana Vasan in the black comedy Wicked Little Letters. She also speaks to the film's director, Thea Sharrock, and historical consultant Emily Cockayne about bringing this remarkable true story to the big screen. The film follows two neighbours: conservative local Edith Swan (played by Olivia Colman) and rowdy Irish migrant Rose Gooding (played by Jessie Buckley). When Edith and fellow residents begin to receive the letters, foul-mouthed Rose is charged with the crime. Anjana Vasan plays Police Officer Gladys Moss, who suspects that Rose may not be the culprit after all… Firstly, Anna speaks with Anjana and Thea about balancing the comedy with some of the more poignant moments in the film. They discuss Anjana's character Gladys Moss, who is based on the first woman Police Officer in Sussex, and talk about the contemporary relevance of poison pen letters. Next up Anna hears from historical consultant Emily Cockayne, whose book Cheek By Jowl: A History of Neighbours details some of the scandal caused by the Littlehampton case in the 1920s. Finally, Anna is joined by the two stars of the film, Olivia Colman and Jessie Buckely, who recall their delight in receiving Jonny Sweet's script. Olivia talks about her background in comedy, and the pair give an insight into the set of Wicked Little Letters when they discuss their musical collaboration. WICKED LITTLE LETTERS is released in UK and Irish cinemas on 23 February 2024. Become a patron of Girls On Film on Patreon here: www.patreon.com/girlsonfilmpodcast Follow us on socials: www.instagram.com/girlsonfilm_podcast/ www.facebook.com/girlsonfilmpodcast www.twitter.com/GirlsOnFilm_Pod www.twitter.com/annasmithjourno Watch Girls On Film on the BFI's YouTube channel: www.youtube.com/playlist?list=PLX…L89QKZsN5Tgr3vn7z Girls On Film is an HLA production. Host: Anna Smith Executive Producer: Hedda Archbold Producer: Charlotte Matheson Audio editor: Benjamin Cook House band: MX Tyrants Thanks to our partners for this episode STUDIOCANAL © HLA Agency

As we post this episode, we're coming up to the third annual Girls On Film Awards 2024. They take place on Tuesday 20 February 2024 at Regent Street Cinema in London. We'll celebrate the brilliant work made by women in film and will be joined by nominees, industry supporters and listeners. We give awards in 12 categories, and the undisputed climax of the night will be the award for the category 'Female Orgasm on Screen, sponsored by Intimacy On Set' for the second year running. In this episode, Intimacy On Set founder Ita O'Brien talks with Hedda Lornie Archbold, Girls On Film co-founder, about the four nominated films in this category: Fair Play, Joy Ride, Poor Things and Saltburn, as well as about some of the other notable films of the past year. Ita O'Brien is an Intimacy Coordinator and Movement Director for film, television, and theatre. Since 2014, she has been developing best practice when working with intimacy, scenes with sexual content, and nudity in film, TV, and theatre. Ita pioneered the role of Intimacy Coordinator, which is being adopted in leading production houses, including HBO, Netflix, and the BBC. Ita founded Intimacy on Set to provide trained, professional Intimacy Coordinators to the industry. Also in this episode, Anna Smith recommends some great films by women filmmakers in the run up to International Women's Day 2024. Films mentioned in this episode: Men Up Saltburn Poor Things Fair Play Joy Ride How To Have Sex Barbie Oppenheimer Memory Four Daughters Copa 71 Origin Operas mentioned in this episode: Anthony and Cleopatra Television series mentioned in this episode: Bridgerton Brave New World Men Up is on BBC iPlayer Fair Play is on Netflix Joy Ride is streaming platforms including Apple TV. Saltburn is on Prime Video Poor Things is on streaming platforms including Prime Video and Apple TV from 27 February 2024. Become a patron of Girls On Film on Patreon here: www.patreon.com/girlsonfilmpodcast Follow us on socials: www.instagram.com/girlsonfilm_podcast/ www.facebook.com/girlsonfilmpodcast www.twitter.com/GirlsOnFilm_Pod www.twitter.com/annasmithjourno Watch Girls On Film on the BFI's YouTube channel: www.youtube.com/playlist?list=PLX…L89QKZsN5Tgr3vn7z Girls On Film is an HLA production. Host: Anna Smith Producer: Hedda Lornie Archbold Audio editor: Emma Butt House band: MX Tyrants This episode is in partnership with Intimacy On Set © HLA Agency

In today's episode, Anna Smith talks to members of the the Girls On Film community about Nyad, starring Annette Bening and Jodie Foster, which tells the remarkable true story of athlete Diana Nyad. An athlete turned journalist, Diana Nyad made an incredible vow when she turned 60. She was determined to become the first person to swim 110 miles from Cuba to Florida, without a shark cage. She was supported by a team including her best friend and coach Bonnie Stoll. Directed by Elizabeth Chai Vasarhelyi and Jimmy Chin, the film has a Best Actress Oscar nomination for Annette Bening as Diana, and Supporting Actress for Jodie Foster as Bonnie. The bond between Diana and Bonnie is beautifully depicted, whether they are sharing witty banter, second guessing each other or finding their strong friendship tested by Diana's relentless and risky ambition. It's the reason that Nyad is nominated for the Female Friendship on Screen award at the 2024 Girls On Film Awards. In partnership with Netflix we arranged a special Girls On Film screening of Nyad, the feature written by Julia Cox, adapted from the memoir Find A Way by Diana Nyad. We invited some of the Girls On Film community to watch this extraordinary true story on the big screen, followed by a discussion about some of the themes of the film, including friendships between women, achieving your goals no matter what your age, and the great pleasure of seeing the story of two complex, older lesbian characters on screen in mainstream cinema. Thanks to our partners for this episode, Netflix UK Other films mentioned in this episode are: Black Panther: Wakanda Forever Blindsight Booksmart Chariots of Fire Free Solo Girl Picture How to Have Sex A League of Their Own Polite Society The Rescue She Said The Silent Twins The Swimmers Thelma and Louise The Woman King Become a patron of Girls On Film on Patreon here: www.patreon.com/girlsonfilmpodcast Follow us on socials: www.instagram.com/girlsonfilm_podcast/ www.facebook.com/girlsonfilmpodcast www.twitter.com/GirlsOnFilm_Pod www.twitter.com/annasmithjourno Watch Girls On Film on the BFI's YouTube channel: www.youtube.com/playlist?list=PLX…L89QKZsN5Tgr3vn7z Girls On Film is an HLA production. Host: Anna Smith Executive Producer: Hedda Archbold Producer: Charlotte Matheson Audio editor: Emma Butt House band: MX Tyrants © HLA Agency

In this episode of Girls On Film, Anna Smith talks to the creator and showrunner of Mr. & Mrs. Smith, Francesca Sloane. Mr. & Mrs. Smith is a series inspired by the 2005 film by Doug Liman and Simon Kinberg. It stars Maya Erskine and Donald Glover as two lonely strangers who land jobs working for a mysterious spy agency, and are given new identities in an arranged marriage as Mr. and Mrs. John and Jane Smith. The eight-part series explores their relationship as they take on each new mission, with an all-star supporting cast including Parker Posey, Paul Dano, Sharon Horgan, Michaela Coel and more. In this conversation, Francesca discusses the conception of Mr. & Mrs. Smith and how she moved from being offered jobs ‘cleaning in her underwear' in LA to being the showrunner of this series. She speaks to Anna about subverting gender roles in this reimagining of the 2005 film starring Brad Pitt and Angelina Jolie, and turning Donald Glover into a ‘Bond Girl' figure. She also talks about the unique experience of leading a writing room made up exclusively of women of colour, and how the plot of the series came to interrogate questions of race and visibility. Mr. & Mrs. Smith is available on Prime Video now. Become a patron of Girls On Film on Patreon here: www.patreon.com/girlsonfilmpodcast Follow us on socials: www.instagram.com/girlsonfilm_podcast/ www.facebook.com/girlsonfilmpodcast www.twitter.com/GirlsOnFilm_Pod www.twitter.com/annasmithjourno Watch Girls On Film on the BFI's YouTube channel: www.youtube.com/playlist?list=PLX…L89QKZsN5Tgr3vn7z Girls On Film is an HLA production. Host: Anna Smith Executive Producer: Hedda Archbold Producer: Charlotte Matheson Audio editor: Emma Butt House band: MX Tyrants This episode is in partnership with Prime Video

Oscar and BAFTA nominee Carey Mulligan returns to Girls On Film for a very special episode celebrating her performance in the towering epic Maestro, currently on Netflix. Carey plays Felicia Montealegre Cohn Bernstein, opposite director Bradley Cooper as composer Leonard Bernstein, and her performance is spellbinding. She joined host Anna Smith after a screening of Maestro in London on 23rd January 2024 - the very day she was announced as a nominee for the Oscar for Actress in a Leading Role. This exclusive recording sees Carey sharing her thoughts on preparing for this complex role, working with Bradley Cooper and the incredible craft departments such as Hair and Make-Up. Recalling Carey's first appearance on episode 3 of Girls On Film, Anna and Carey spoke frankly about how things have progressed for women in film, and how much has changed since we launched the podcast. You can also hear Carey answering questions from our audience of Girls On Film listeners. Other films mentioned in this episode: Promising Young Woman (dir. Emerald Fennell) She Said (dir. Maria Schrader) Subscribe to our newsletter and invitation list to hear about future screenings by emailing: girlsonfilmsocial@gmail.com Become a patron of Girls On Film on Patreon here: www.patreon.com/girlsonfilmpodcast Follow us on socials: www.instagram.com/girlsonfilm_podcast/ www.facebook.com/girlsonfilmpodcast www.twitter.com/GirlsOnFilm_Pod www.twitter.com/annasmithjourno Watch Girls On Film on the BFI's YouTube channel: www.youtube.com/playlist?list=PLX…L89QKZsN5Tgr3vn7z Girls On Film is an HLA production. Host: Anna Smith Executive Producer: Hedda Archbold Assistant Producer: Charlotte Matheson Audio editor: Jack Howard Live sound recordist: Cam Griffiths House band: MX Tyrants This episode is in partnership with Netflix Photo: Julie Edwards Photography © HLA Agency

This week, Anna Smith welcomes Nicole Newnham back to Girls On Film to discuss her documentary The Disappearance of Shere Hite. The film sheds light on the groundbreaking sexologist and former Playboy model Shere Hite, who in 1976 published The Hite Report, dubbed ‘a sexual revolution in 600 pages'. Taking the intimate experiences of thousands of women across the world as its basis, Hite and a small team of grassroots feminists exposed some of the harmful ideas around female sexuality that were prevalent at the time. In this episode, Nicole describes how she first got involved in the project, about the contemporary relevance of Shere Hite, and how Dakota Johnson became the voice of Shere Hite. With Anna, Nicole discusses some of the tragedy as well as triumph in the story of Shere Hite and the desire to explore what she calls the ‘the architecture of silence' that attempted to remove Hite from the history books. Other films mentioned in this episode: Crip Camp, Nicole Newnham and James Lebrecht, 2020 You can watch The Disappearance of Shere Hite from the 12th January in UK cinemas. Become a patron of Girls On Film on Patreon here: www.patreon.com/girlsonfilmpodcast Follow us on socials: www.instagram.com/girlsonfilm_podcast/ www.facebook.com/girlsonfilmpodcast www.twitter.com/GirlsOnFilm_Pod www.twitter.com/annasmithjourno Watch Girls On Film on the BFI's YouTube channel: www.youtube.com/playlist?list=PLX…L89QKZsN5Tgr3vn7z Girls On Film is an HLA production. Host: Anna Smith Executive Producer: Hedda Archbold Producer: Charlotte Matheson Audio editor: Alex Jones House band: MX Tyrants This episode is in partnership with Dogwoof and NBC Universal © HLA Agency

Today's episode of Girls On Film is about the winner of the Un Certain Regard prize at the 2023 Cannes Film Festival, How to Have Sex. Anna Smith is joined by Molly Manning Walker, who wrote and directed How to Have Sex, and Mia McKenna-Bruce, whose performance as Tara earned her the BIFA for Best Lead Performance and Best Actress at the European Film Awards. The film shows Tara and her two best friends from school, Skye (Lara Peake) and Em (Enva Lewis), celebrating the end of their GCSE exams on a girls trip to Malia. In a flurry of neon mini dresses, fish bowl cocktails and an intriguing group of eighteen-year-olds in the same holiday complex, the girls navigate the worlds of sex, consent and self-discovery. How to Have Sex has been hailed by viewers as a vibrant and authentic depiction of the agonies, and ecstasies of girlhood, and in this episode Mia and Molly talk about the filming process, as well as the film's impact on viewers, from critics at Cannes to teenagers in the classroom. Molly talks about the importance of building meaningful backstories for all her characters, and creating a ‘360 degree' set to give her cast an authentic background to work against. The pair recall the excitement of working on a project like this, where club nights and football matches were a common fixture among cast and crew. They also speak to Anna about the ‘bittersweet' response to the film, citing how it has sparked meaningful conversations about sex and consent, but also how it is exposing just how many people have been affected by the issues that How to Have Sex explores. How to Have Sex will be streaming exclusively on MUBI from 29 December 2023 and Girls On Film listeners can watch it with 30 days free at mubi.com/girlsonfilm Other series mentioned in this episode: I May Destroy You (Michaela Coel, 2020) Sex Education (Laurie Nunn, 2019) Become a patron of Girls On Film on Patreon here: www.patreon.com/girlsonfilmpodcast Follow us on socials: www.instagram.com/girlsonfilm_podcast/ www.facebook.com/girlsonfilmpodcast www.twitter.com/GirlsOnFilm_Pod www.twitter.com/annasmithjourno Watch Girls On Film on the BFI's YouTube channel: www.youtube.com/playlist?list=PLX…L89QKZsN5Tgr3vn7z Girls On Film is an HLA production. Host: Anna Smith Executive Producer: Hedda Archbold Producer: Charlotte Matheson Audio editor: Jack Howard House band: MX Tyrants This episode is in partnership with MUBI, a global streaming service and distributor where you can find a handpicked selection of world cinema. © HLA Agency

Olivia Colman, Oscar winning actress. Stephen Smith charts her career from an appearance at the age of 4 in a school nativity play, through to her current project as Mrs. Scrubbit in the new 'Wonka' film. Olivia Colman first came to public attention as a comedy actress in 'That Mitchell and Webb Look' and then 'Peep Show' but she always felt she could do more. It was being cast in the British film 'Tyrannosaur' that brought her to the attention of Hollywood. Now she's on her way to National Treasure status with the likes of Dame Judi Dench and Dame Helen Mirren. CONTRIBUTORSPaterson Joseph, Actor, Producer, Writer. Screen Credits, Boat Story, Vigil. Paul Hands, Former Director of Drama, Gresham's School. Anna Smith, Film Critic, Broadcaster and host of 'Girls on Film' podcast. Catherine Shoard, Film Critic, The Guardian. CREDITSPeep Show, Channel 4 Wonka, Warner Bros. Pictures L'Orchestre Cinematique, Pure Imagination (Newley/Bricusse) Oscars Award Ceremony 2019 - Best Actress Award The Crown, Netflix , Writer: Peter Morgan Life in Stages, Episode 1 Olivia Colman, National Theatre PRODUCTION TEAM Producer: Diane Richardson, Julie Ball Editor: Bridget Harney Sound: Neil Churchill Production Co-ordinators: Maria Ogundele and Sabine Schereck

When the glorious hero calls for his allies to follow him into battle... why should they? And how can that hero convince them? In this extremely-niche-themed episode, guest Anna Smith Spark joins us to explore the interplay of language and leadership! In fiction, we love a great, rousing speech -- but how realistic is that stirring moment? (And do we care if it's realistic, or do we follow the Rule of Cool?) What's left when you take out the flattering lighting and the emotionally manipulative musical score? Well, you've still got language -- and language can do a lot, not only for your character dynamics, but also to reflect the values of the society you've built. And maybe it's the place of speculative fiction to investigate the virtues and truths that just might be worth dying for. Bonus: Because Cass did promise there would be handouts: a rhetorical analysis of the St Crispin's day speech, courtesy of Cass's mentor, Ralph Alan Cohen. And if you really want to hear Cass give the speech... you can. [Transcript TK] Our Guest: Anna Smith Spark lives in London, UK. She loves grimdark and epic fantasy and historical military fiction. Anna has a BA in Classics, an MA in history and a PhD in English Literature. She has previously been published in the Fortean Times and the poetry website www.greatworks.org.uk. Previous jobs include petty bureaucrat, English teacher and fetish model. Anna's favourite authors and key influences are R. Scott Bakker, Steve Erikson, M. John Harrison, Ursula Le Guin, Mary Stewart and Mary Renault. She spent several years as an obsessive D&D player. She can often be spotted at sff conventions wearing very unusual shoes.

Its time for a new season which a brand new batch of adventurers...and shenanigans   Our patrons get a commercial free version of our show a day early. Why not join them at patreon.com/danddminus Music by Anna Smith and Morgan Clarke 

Katerina, P.L. Stuart and I talk all things Empires of Dust with author Anna Smith Spark. This conversation is spoiler filled!Find AnnaWatch on YouTubePageChewing.comPAGECHEWING: Comics & Manga PodcastFilm Chewing PodcastLinktreeJoin Riverside.fm

This week:   In his cover piece for the magazine Ross Clark writes about ‘the war on motorists'. He argues that the backlash against London Mayor Sadiq Khan's expansion of Ulez is just the beginning, as motorists – and Labour MPs – prepare to revolt. He joins the podcast alongside Ben Clatworthy, transport correspondent at the Times, to discuss whether the Ulez expansion is just a money-grab. (01:11).  Also this week: In his piece for The Spectator, journalist Ian Williams compares both Labour and Conservative policy on China. He says that Labour is gearing up to take a much more hawkish stance on China. He is joined by Charles Parton, senior associate fellow at RUSI, who worked as a diplomat in China for over two decades. (12:12) And finally: lights, camera, industrial action.  This is of course the news this week that the Screen Actions Guild are striking in support of the Writers Guild of America over concerns that AI will take over the role of screenwriters. Gareth Roberts argues in The Spectator that there is such a glut of poor scripts that we may not even notice that if AI replaces screenwriters, and is joined by Anna Smith, film critic and host of the girls on film podcast. (26:39) Hosted by William Moore.    Produced by Oscar Edmondson.

This week:   In his cover piece for the magazine Ross Clark writes about ‘the war on motorists'. He argues that the backlash against London Mayor Sadiq Khan's expansion of Ulez is just the beginning, as motorists – and Labour MPs – prepare to revolt. He joins the podcast alongside Ben Clatworthy, transport correspondent at the Times, to discuss whether the Ulez expansion is just a money-grab. (01:11).  Also this week: In his piece for The Spectator, journalist Ian Williams compares both Labour and Conservative policy on China. He says that Labour is gearing up to take a much more hawkish stance on China. He is joined by Charles Parton, senior associate fellow at RUSI, who worked as a diplomat in China for over two decades. (12:12) And finally: lights, camera, industrial action.  This is of course the news this week that the Screen Actions Guild are striking in support of the Writers Guild of America over concerns that AI will take over the role of screenwriters. Gareth Roberts argues in The Spectator that there is such a glut of poor scripts that we may not even notice that if AI replaces screenwriters, and is joined by Anna Smith, film critic and host of the girls on film podcast. (26:39) Hosted by William Moore.    Produced by Oscar Edmondson.

On this episode of the Deal Farm®, Ken and Kevin sit down with Anna Smith and talk about her amazing journey from being homeless ... to building an amazing business and being the first and only female inducted into the Craftsman Hall of Fame ... to now entering the world of real estate investing (and killing it!).  Stay tuned in to hear her amazing story!

EP.126 - Anna Smith is an author and speaker from the UK and is married to singer/songwriter Martin Smith—who is featured in last week's episode and is currently on tour with Cody Carnes and Kari Jobe. Anna is a mother of six and a grandmother. In this engaging episode, Anna shares the challenges and joys being married to a full-time musician and how God remains faithful during life's hardest moments. You're going to love Anna's transparency and heart, so grab your favorite drink and get ready to be encouraged!