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Contempt (1963)
A philistine in the art film business, Jeremy Prokosch is a producer unhappy with the work of his director. Prokosch has hired Fritz Lang to direct an adaptation of "The Odyssey," but when it seems that the legendary filmmaker is making a picture destined to bomb at the box office, he brings in a screenwriter to energize the script. The professional intersects with the personal when a rift develops between the writer and his wife.
A philistine in the art film business, Jeremy Prokosch is a producer unhappy with the work of his director. Prokosch has hired Fritz Lang to direct an adaptation of "The Odyssey," but when it seems that the legendary filmmaker is making a picture destined to bomb at the box office, he brings in a screenwriter to energize the script. The professional intersects with the personal when a rift develops between the writer and his wife.
The film's dominant themes align with progressive values through its critique of commercialism in art and its deconstruction of traditional narrative forms, challenging established capitalist and cinematic norms.
The movie features a traditional cast without explicit diversity initiatives or race/gender swaps. Its narrative explores complex human relationships and artistic integrity, but does not explicitly critique traditional identities or center DEI themes.
Jean-Luc Godard's 'Contempt' does not feature any identifiable LGBTQ+ characters or themes. The film's narrative centers on the deteriorating marriage of a heterosexual couple and the challenges of filmmaking, without exploring queer identities or experiences.
The film 'Contempt' (1963) does not include any transsexual characters or themes within its narrative. Consequently, there is no portrayal to evaluate regarding transsexual identity, resulting in a 'N/A' rating for its net impact.
The movie does not contain any action or adventure elements.
The film "Contempt" is an adaptation of Alberto Moravia's novel "Il disprezzo." All major characters in the film retain the same gender as their counterparts in the original novel, and historical figures are portrayed with their documented gender.
The film adapts a novel where characters' nationalities shifted (e.g., Italian to French), but their broader racial category (white) remained consistent. This does not meet the definition of a race swap.
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