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creator: Kelly O'Sullivan genres: Comedy summary: Saint Frances is a movie starring Kelly O'Sullivan, Charin Alvarez, and Braden Crothers. After an accidental pregnancy turned abortion, a deadbeat nanny finds an unlikely friendship with the six-year old she's charged with Tomatometer: 7,5 of 10 stars USA.

When you watch it, at 01:20 in the Pentagons security checkpoint scene, you will notice a tall Airman in his Class Bs with Senior Airman stripes on his shirt sleeves, and perhaps Master Sergeant stripes on his shirt epaulets. He looked old enough to be a Senior NCO too. Costume Department done did a Stargate SG-1 Season One goof (i.e. a Major had Staff Sergeant stripes on his Service Jacket sleeves. And here we have the focus of the story, an Airman First Class wearing modern Senior Airman, then-Sergeant, stripes in his fatigues. Vintage A1C stripes, with two chevrons and a blue star center, can be had in eBay for cheap. The production crew didnt even bother to check.

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Thanks for sharing this with us! It was very inspiring. Saint Frances Free. Saint frances free movie 2017. Saint frances free movie youtube. Saint frances free movie full. Posted on Thursday, November 28th, 2019 by This review contains mild spoilers for Saint Frances. Thirty-four-year-old Bridget (Kelly O’Sullivan) is figuring it out as she goes. She’s single, stuck in a dead-end job, and not quite sure what she wants to do with her life. After listening to a creep at a party blather on about all the things he’s achieved by the same age, Bridget decides to take life by the horns. But not before an awkward and incredibly relatable night with her now not-boyfriend, Jace (Max Lipchitz). A series of quick events will result in two facts in Bridget’s life: she’s facing an unwanted pregnancy because a lot of sex-ed still fails to teach us that pulling out isn’t a viable method of birth control, and she’s about to take a new job as a nanny for a lesbian couple. What unfolds throughout the rest of Saint Frances is an exploration in just how inherently lonely being a woman can be, and how using our words with one another can actively help combat that loneliness. Mentions of loneliness might make you suspect that the film has this sort of melancholic air to it, but nothing could be further from the truth. Saint Frances is actually quite funny. Some of the laughter is from discomfort or a sort of awkward relatability, but there’s also just some genuinely good humor woven into difficult conversations like abortion, postpartum depression, and talking about our feelings. What takes the film to the next level is its ability to have those conversations without invalidating the experiences of any of the folks invoived. Bridget finds herself bound to two women who have made fundamentally different life choices than she has, but at no point does she question Maya (Charin Alvarez) and Annie’s (Lily Mojekwu) decision. She watches Maya slowly find herself eaten alive by her depression but never once challenges her choice to be a mother. She does, however, find herself living in terror that the women will judge her for her decision to have an abortion. Even if she does struggle with admitting that to herself. There’s an endless amount of heart from every character on screen, but perhaps none so much as the film’s title character; Frances (Ramona Edith Williams). Frances is a firecracker whose narrative purpose is to help Bridget grow, but she does so much more. Young Ramona will steal your heart the first moment you meet her, and you’ll realize far too late into the game that she’s never giving it back. Saint Frances grabs women by the face and tells them in a fierce but supportive whisper that they’re not alone. It takes conversations that many girls never hear spoken out loud and literally screams them from the rooftops. Kelly O’Sullivan’s script tackles the painfully awkward and the deeply taboo with the amount of ease that helps you forget that you’re talking about something that many folks would rarely whisper about. It’s a bright light on how messy, complicated, and weird womanhood is. For that, it deserves all the attention in the world. /Film Rating: 9 out of 10 Cool Posts From Around the Web:.

The termination of an unplanned pregnancy and a job nannying a precocious 6-year-old girl prompt a directionless young woman to recalibrate her notions of family in Alex Thompson's first feature. "I'm not an impressive person, " says screenwriter and lead actor Kelly O'Sullivan as the emotionally untethered Bridget toward the end of Saint Frances. "I don't have a husband or kids or a fancy job. " Those standard markers that define life fulfillment for many women are held up for gently ironic questioning in Alex Thompson's slender but appealing debut feature. Of note for its nonjudgmental stance on abortion and its normalizing treatment of queer parenting, though not immune to occasional heavy-handedness or caricature, the film has enough modest charms to connect with audiences similarly navigating the bridge between youthful detachment and grounded adulthood. The funny intro scene swiftly nails Bridget's insecurities as she listens with increasing discomfort to a random guy at a party recount a nightmare in which, having hit 34 with no significant achievements, he hurls himself out a window. While sheepishly admitting that she is in fact 34 and waiting tables, Bridget makes eye contact with a younger guy, Jace (Max Lipchitz), across the room. She latches onto him like a life raft, grateful to learn that he's a fellow server unlikely to add to her sense of inadequacy. The unexpected arrival of her period during sex yields a major mess the next morning, but in a moment that flips the received gender norms and is echoed elsewhere in the movie, 26-year-old Jace is revealed to be a paragon of sweet sensitivity, taking the bloodbath in stride as he helps Bridget clean up her bedding. A Northwestern creative-writing dropout, Bridget attempts to escape her diner job by applying to work as a nanny for a mixed-race lesbian couple in the affluent Chicago suburbs. Their proudly liberal sensibilities are advertised with a "Hate Has No Home Here" sticker on the front door and a "Black Lives Matter" sign on the lawn. But her candid ambivalence about kids and failure to make an impression on their opinionated 6-year-old daughter Frances (Ramona Edith-Williams) — "We're done, " says the girl, abruptly ending their exploratory first meeting — mean she only gets the job months later as a fallback choice after a more experienced childcare worker has bombed. Meanwhile, Jace has become a regular part of Bridget's life, even if she's reluctant to call what they have a relationship. Faced with an unplanned pregnancy, she doesn't hesitate in choosing an abortion, resisting Jace's tentative efforts to talk through other options. The chief narrative engine is the evolving friendship between Bridget and Frances, who constantly tries to outsmart and manipulate the inexperienced nanny in their early excursions together to the park or library. But the willful brat slowly comes around to feel affection and maybe even admiration for Bridget. Just as Bridget is feeling like a failure for not having figured out what to do with her life, this clever, curious, intuitive kid, who has grown up in a feminist household exposed to adult concepts from a young age, quietly boosts the older woman's self-worth and improves her attitude toward future possibilities. Some of this borders on formulaic, but while O'Sullivan's performance is a tad muted in the central role, Edith-Williams is such a disarmingly natural screen presence that she keeps it fresh. And O'Sullivan's script camouflages the familiar aspects with the more soulful interactions between Bridget and one of Frances' mothers, Maya, played by Charin Alvarez in the film's standout performance. While her wife Annie (Lily Mojekwu) works long hours in a demanding job, Maya is adrift, dealing with postpartum depression following the birth of Frances' baby brother. That thread enriches the story with melancholy notes that dovetail nicely with Bridget's introspective moments. While the abortion is treated matter-of-factly, without a trace of melodrama, Bridget deals with physical after-effects for many weeks. Jace, by contrast, keeps an "emotions journal" full of unprocessed feelings that he tries to get her to discuss. This gives rise to an amusing joke about millennials having too many feelings, while Bridget excludes herself by clarifying, "I'm on the cusp. " A part of the character's growth is her eventual willingness to open up, a shift influenced by the renewed closeness of Maya and Annie, making Saint Frances a belated coming-of-age story. The delicacy of those core elements is not always matched by O'Sullivan's writing of the peripheral characters. A single scene with Bridget's parents (Chicago theater vets Mary Beth Fisher and Francis Guinan) adds little, and a quasi-romance with a hippie-dippy guitarist (Jim True-Frost) from Frances' artsy daycare center, even less. It's no doubt true that pockets of conservative intolerance exist in Chicago's well-heeled 'burbs, but an indignant woman at the park (Rebecca Spence), bristling about Maya breast-feeding in public, feels more like a device than a real person. Likewise, a neighbor of Maya and Annie's (Rebekah Ward), who remembers Bridget from Northwestern and starts treating her like the help as soon as she registers the situation. The woman is such a toxic asshole — she wrote a motivational book called Resting Rich Face and has an "Unborn Lives Matter" sticker on her refrigerator — that you question whether their kids' playdates would be enough to sustain even a superficial friendship with the lesbians next door. But Thompson's direction and O'Sullivan's screenplay are more often characterized by their light touch than their missteps in a likeable film elevated by its crisp, summery look and warm score. Production companies: Runaway Train, in association with Easy Open Productions, Metropolitan Entertainment Cast: Kelly O'Sullivan, Charin Alvarez, Lily Mojekwu, Max Lipchitz, Jim True-Frost, Ramona Edith-Williams, Mary Beth Fisher, Francis Guinan, Rebecca Spence, Rebekah Ward Director: Alex Thompson Screenwriter: Kelly O'Sullivan Producers: Pierce Cravens, Ian Keiser, Eddie Linker, Alex Thompson, James Choi, Raphael Nash, Roger Welp Executive producers: Greg Beckway, Diane Beckway, Bob Rubin, Roger Welp, Fred LeVine, Bob Ryan, Lynne Ryan, Eric Ashworth, Andy Salmen, Nancy Shields, Walter Gallwas, Sarah Martin, Paul Reiger, Pierce Cravens, Ian Keiser, Raphael Nash, Haroula Rose Spyropoulos Director of photography: Nate Hurtsellers Production designer: Maggie O’Brien Costume designer: Eric Thompson Music: Quinn Tsan, Alex Babbitt Editor: Alex Thompson Casting: A. J. Links, Mickie Paskal, Jennifer Rudnicke Venue: SXSW Film Festival (Narrative Feature Competition) Sales: Visit Films 98 minutes.

So many film makers have taken a crack at the retelling of this iconic story and no one has gotten it right except 2003 Peter Pan. But this looks like an exception. Saint frances free movie free. Just here for the cringey christian comments. Saint frances free movie watch. Saint frances free movie list. Looks shockingly bad. Use real dogs for heaven's sake. Saint frances free movie streaming. Saint Frances Free movies. By Brian Tallerico March 17, 2019 | It can be difficult to stand out in the world of independent filmmaking. The low budget nature inherently lends itself to telling variations on stories we’ve heard before. Most film festival indies are criticized for their use of tropes and clichés, when the question that should be asked is not have we heard this story before but do we believe this telling of it? These films are not designed to break new ground conceptually – they are, by their very nature, character studies. And it can be remarkably easy to ignore the clichés and tropes if one simply believes in the people up on the screen. Such is the case with two well-liked films from this year’s event, including the Audience Award winner. Advertisement That prize went to the powerful “Saint Frances, ” a movie that really snuck up on me and walloped me emotionally in the final scenes in ways I wasn’t expecting. The reason this film has cumulative power is simple: we believe in its characters. The authenticity of the entire production is remarkable, and when that genuine believability is used to send a message, even if it’s one we’ve heard before, audiences listen. The message this time is a classic: life isn’t easy or predictable and stop judging yourself for not knowing exactly what you want or need. Women especially are so often inundated with what they should want from life, especially when it comes to relationships and children, that sometimes it takes the wisdom of a child to break free of the rigidity of adulthood. Kelly O’Sullivan, who also wrote the film, gives a truly excellent performance as Bridget, a 34-year-old “server” looking for a better job and a better relationship. She finds both, first meeting a nice guy and then getting a great job as a nanny for a 6-year-old named Frances (Ramona Edith-Williams). Neither turn out exactly as expected when the former produces an unwanted pregnancy and Frances’ parents (Charin Alvarez & Lily Mojekwu) seem to be struggling. Throughout, O’Sullivan and Thompson deftly refuse to judge their characters. Bridget makes mistakes, but they feel organic and genuine, not designed as “movie lessons”. It helps that O’Sullivan’s performance is one of the best of SXSW 2019 and that Edith-Williams is unforgettably adorable. Ultimately, “Saint Frances” is about a lot of things but I took the most emotional power away from what I think it says about self-judgment. We spend so much of our lives judging ourselves about our job, our bodies, our relationships, our families – and it does so much more harm than good. Six-year-olds don’t judge. They love and need love. And, as cheesy as it sounds, watching this 34-year-old woman learn a lesson or two about accepting herself and defending those she loves hit home for this 43-year-old man. It is both a beautifully specific character study and something that has resonance beyond the demographic of its cast. You'll want to watch for it when it's inevitably released. There’s undeniable emotional resonance in Annabelle Attanasio ’s “Mickey and the Bear” too, and again it’s largely due to the performances of its leads. In this case, it’s Camila Morrone as a Montanan teenager and James Badge Dale as her deeply troubled father. This one can’t avoid feeling a bit more clichéd than “ Frances ” and missteps over the line a few times from realism to manipulation, but the two leads are so good that it’s easier to forgive. Morrone is going to be a star and Dale should already be one. Camila plays Mickey, and Dale her father Hank. He’s toxic in a dozen or so ways. He’s a single father dealing with PTSD and addiction. Well-sketched by Dale, he’s one of those people who has unmanaged demons and a deep well of selfishness. He’s dependent on Mickey in multiple ways and lashes out now that she’s turned 18 and is threatening to leave him. There are echoes of the masterful “ Leave No Trace ” in the way Annabelle Attanasio’s film tells the story of a girl realizing she has to leave her father behind to become a woman. “Mickey and the Bear” has a few too many familiar beats and sometimes feels like a dirge when it comes to tone. It’s so oppressively bleak because we know that Mickey and Hank are beyond repair. We can see it in the way he emotionally abuses her, and so we just keep waiting for her to break the tie that could otherwise destroy her. And yet Dale and Morrone find a way to elevate what could have easily felt like poverty porn into something truthful. Again, we’ve been here and we’ve seen stories like this in indie cinema before, so success or failure rests on the shoulders of how much we believe that Mickey and Hank are real. Morrone and Dale make that easy to do, allowing the criticisms to fall away. It doesn’t feel like a cliché if you believe in it. Next Article: SXSW 2019: Stuber, Vai, Jezebel Previous Article: Ebertfest 2019 to Open with Aretha Franklin Documentary, Amazing Grace Reveal Comments comments powered by.

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Super love this song. Community See All 540 people like this 556 people follow this About See All Movie Page Transparency See More Facebook is showing information to help you better understand the purpose of a Page. See actions taken by the people who manage and post content. Page created - July 1, 2018 People 540 likes Related Pages Princess Ramona's World Actor Pure International Pageants National Toddler Miss America Public Figure King Rat - A Feature Film Movie Welcome to Prince Noah's World Public Figure Susan Hart Shakespeare Classes and Private Coachings Performing Arts Queen Mami Designs Fashion Designer The Dance Center of Columbia College Chicago Performance & Event Venue Black Box Acting Performing Arts School I am crazy about gardening Home & Garden Website Chicago Motion Artists Group Nonprofit Organization The Gift Theatre Company Performance Art Theatre Becoming Eddie - Film Movie Olympia Movie Drive Slow TV TV Show Elevated Films Chicago Nonprofit Organization 10, 000 Hours Program at iO Chicago Education Hudson Artists Agency Arts & Entertainment Script Anatomy Arts & Entertainment Empty Space Movie Changing the Game Doc Movie See More triangle-down Pages Liked by This Page Elevated Films Chicago English (US) Español Português (Brasil) Français (France) Deutsch Privacy Terms Advertising Ad Choices Cookies More Facebook © 2020 Posts Saint Frances Movie January 16 at 8:56 AM Flailing thirty-four-year-old Bridget (Kelly O’Sullivan) finally catches a break when she meets a nice guy and lands a much-needed job nannying six-year-old... Saint Frances - Official Trailer - Oscilloscope Laboratories HD Flailing thirty-four-year-old Bridget (Kelly O’Sullivan) finally catches a break when she meets a nice guy and lands a much-needed job nannying six-year-old... Flailing thirty-four-year-old Bridget (Kelly O’Sullivan) finally catches a break when she meets a nice guy and lands a much-needed job nannying six-year-old... Saint Frances Movie January 4 at 2:02 PM Saint Frances Movie updated their website address. Learn More See All Recommendations and Reviews Recommended by 5 people fantastic film! great story and great acting! January 19 Fabulous and sensitive. Must see. August 3, 2019 Unapologetically speaks, shares, shows the female and experience. Exceptional performances all around. March 12, 2019 See All Videos Visiting @centrepompidou today! This was an escalator, but quite a view, as well. 15 See All Photos See All See More.

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Saint Frances free movie downloads. Saint frances free movie downloads. Saint Frances Free movie page. Saint frances free movie theater. Saint Frances Xavier Cabrini “ Today the Church needs saints. This calls for our combating our attachment to comforts that lead us to choose a comfortable and insignificant mediocrity. Each one of us has the possibility to be a saint, and the way to holiness is prayer. Holiness is, for each of us, a simple duty. ” St. Mother Teresa Simon and Garfunkel sang Mrs. Robinson, the classic song from the movie The Graduate. They lamented the lack of American heroes and sang, “Where have you gone, Joe DiMaggio? A nation turns its lonely eyes to you. ” The true American heroes are not sport or entertainment figures, but Catholic saints. We should turn our “lonely eyes” to them and follow their good examples, virtues and works. They are our true friends and are alive in heaven with God. They are models of holiness for us. They can help us just like friends on earth by their prayerful intercession on our behalf. They give us courage and hope. November 13 is the feast of one of our saints of the states, St. Frances Xavier Cabrini, foundress of the Missionary Sisters of the Sacred Heart of Jesus. Let our nation turn its lonely eyes to her for courage and hope. The small young nun with beautiful large blue eyes entered the presence of the elderly Pope Leo XIII. She knelt before him and told him of her ambition to go to China. He shook his head and said, “No, not to the East, my daughter, but to the West. ” He decided that Mother Francis Cabrini should go to the United States and not to China. This began a missionary service that resulted in the largest number of missionary foundations in the United States. Before he became Pope Pius XI and beatified Mother in 1938, Achille Ratti once remarked to his housekeeper and asked her a question that applies to everyone. “Did you see that little nun who came for advice here? She has crossed the Atlantic Ocean more than twenty times; she has also founded many institutions of charity in Europe and the United States of America. A great missionary, yes, and a saint! And what have we done, for the glory of God during our whole lifetime? ” On July 7, 1946, the day of her canonization, Samuel Cardinal Stritch of Chicago said, She was not a humanitarian; she was a heroic lover of God. In her missions of charity, in her achievement of the impossible, it was not genius; her secret was Divine Love. This is the wonderful story - a romance that is gripping and striking. It is the story of a woman who lived among us, who saw the things which we see, a woman in whose soul Divine Love had consumed the last remnant of self, who came to love only God, and who saw God in every poor man, woman and child. She loved us. She was our benefactor. She went begging in our streets. She rode our street cars. Through alleys she went in search of little hungry children who were homeless and friendless. Our Saint issues a challenge to each of us, no matter how gloomy the world about us may be; we can smile the serene smile of our Saint. After her canonization, Pope Pius XII spoke to some American pilgrims and described Mother Cabrini’s life as “a vast, marvelous epic of struggles and victories. ” “Crossing oceans and continents, ” he said, “conquering the world for Christ, she could say, ‘The world is too small to satisfy my desires. ’ ” In 1996, on the 50th anniversary of her canonization, Pope John Paul II called Mother Cabrini “Missionary of the New Evangelization. ” Mother Cabrini’s intercession is necessary in the New Evangelization particularly for the many immigrants still coming to the United States from foreign lands. They come as refugees from persecution, poverty, war and famine. Mother wrote in one of her letters a prophecy of her intercession for them and for us, “In the adorable Heart of Jesus, I can always find you. He is our comfort, our way, our life. To Him I shall confide all your needs. I will speak to Him of each one of you in particular. I know the wants of every one of you. I will take a great interest in you and keep you close to my heart – you may be sure of this. ” You may read the full story of her life in my book Saints of the States. Please click here and order your copy today!
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