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Full review of “She Said” film on Peacock TV

This novel adaption about the efforts of reporters to expose Harvey Weinstein's sexual harassment is directed by Maria Schrader. A New York jury found Harvey Weinstein, the producer whose films had garnered numerous Oscar nominations, guilty of rape and criminal sexual assault in February 2020. He is currently on trial in California for the second time in two and a half years on 11 new accusations. Jurors in this case were given specific instructions: The

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-DIAM NOBIS judge forbade them from viewing the "She Said" trailer. That is the movie based on the nonfiction book with the same name. In it, New York Times reporters Jodi Kantor and Megan Twohey outline their research process that resulted in the publication of a string of pieces describing Weinstein's actions.that prompted them to write several pieces describing Weinstein's actions. These pieces contributed to the #MeToo movement, which saw thousands, if not millions, of women share their own accounts of sexual harassment and assault on social media and in other places. Men have faced consequences in some cases. Others have mostly avoided negative effects. Whether the movement has has advanced too much or too little is still up for debate.

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This is the divisive environment in which the movie debuts. The "She Said," which Maria Schrader directed from a screenplay by Rebecca Lenkiewicz, is constructed sturdily and close to the ground as if it were intended to survive these alterations in the cultural winds. measured and thought-out,By speaking in a quiet voice where another movie might shout, this one avoids ostentation. There isn't much glitz or extravagance in this. (Never has New York City looked so drab.) The movie frequently mentions predation, collusion, and silence in passing. Instead, "She Said" focuses on the method, giving careful consideration to the accumulation of testimony and corroborating evidence. Yes, it is a thriller, but it is presented discretely and in appropriate office attire. Lead by lead, verified fact by verified fact, its force builds up gradually and covertly until the tension surrounding a cursor's click becomes excruciating. (The New York Times actress named Rose McGowan (voiced by Keilly McQuail) may have alluded to Weinstein in a tweet. She teams up with Twohey after being prodded by their editor, Rebecca Corbett (Patricia Clarkson, poised and confident in stunning statement jewelry). Together, they look for the evidence (settlement agreements, letters to the board) that supports their accusations of assault while simultaneously trying to convince a diverse collection of actors (including Ashley Judd, who plays herself) and former workers to go on the record. though it was made in the style of other films on investigative reporting, such as "Spotlight," "All the President's Men," and "The Post." Compared to those earlier movies, it pays more attention to the journalists' identities as moms and women by following them home more frequently. This decision clarifies the compromises these journalists had to make and the reputational risks they adopts her. She is then seen frantically sprinting along a downtown street a few seconds later, appearing to be the victim of an assault. (Only the aftermath of the assaults is seen in the movie.) Kantor and Twohey are frequently presented in long or medium shots while being surrounded by other women; possibly this is done to emphasize the idea that harassment and assault can happen to any woman and that any woman may seek to set things right. One instance In a scene that doesn't seem to be taken from the book, a bar patron advances on Twohey and becomes enraged when she rejects him."She Said," however, does not present itself as a manifesto. The movie places an emphasis on decency, perspicacity, and diligence rather than firebrand feminism.

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Throughout, you can feel this smart, effective touch. In the most moving sequence of the film, former Miramax employee Zelda Perkins (Samantha Morton) speaks to Kantor even though doing so could put her in violation of her nondisclosure agreement. Perkins describes what she saw while seated in a cafe in London. Her movements are sparse, and her speech is even. It's disastrous.

This restraint is echoed in the main performances. Mulligan gives Twohey a slightly steelier appearance than Kazan's more outspoken Kantor. However, neither actress tries to be quirky or mannered; neither Fans of "All the President's Men" may find themselves wanting for something zingier, like more trench coats and shady parking garages, or the flavor of conspiracy. However, the film's rare stumbles happen in sequences where younger versions of its its subjects are depicted, when it leans more toward drama. The only sources a reporter has are the words of their informants and any papers they can find. They are unable to access their memories. The memories give the suffering of the accusers context and weight. Never are they pornographic. But it seems to be going in the wrong direction for the camera to go where a reporter can't.Weinstein makes a brief cameo appearance in the movie. In a later scene, the back of his head—or rather, the head of actor Mike Houston—may be seen and his recorded voice can be heard. The customary reactions and denials — she's insane, she's confused, she's nasty, she wanted it, too — lacked force because the attention is still on his accusers and the journalists who persuaded them to go on the record together. Women were believed for a while, at least long enough for their accounts to be