Ryan Coogler writes heartfelt letter after 'Black Panther' success

Los Angeles, Jan 9: Actors Salma Hayek and Tiffany Haddish are hopeful about the future for women in Hollywood and now cinema is making films about women because the audience was "neglected".

The duo along with Rose Byrne star in Like a Boss, a comedy directed by Miguel Arteta, which follows best friends Mia and Mel (Haddish and Byrne) who join forces to run their own boutique cosmetics company.

When the prospect of a big buyout offer from a notorious titan of the beauty industry (Hayek) tempts them, their lifelong bond - and their business - is put in jeopardy.

Hayek said she is happy with the increase in female-driven films in Hollywood.

"We're on the right path. And we're not going to stop," the actor told Variety.

"What I can tell you is that a lot more women are directing and acting and writing and producing. And there are a lot more movies made about women and for women because the audience was neglected, she said.

She was speaking at the premiere of the film in New York.

Haddish added that the mantle for change shouldn't be left to the traditional decision-makers.

To get things, one has to sometimes make noise, the actor-author said.

"It's about us putting in the work and creating the projects and creating the opportunities in order to do those things to make it better. I sit back and I listen to people talk sometimes, saying, 'They're not letting us; they're not giving it to us.' Why do we have to ask permission? Why can't we just start putting it together? If they want to come on board with it, come on board. And if not, oh well," Haddish said.

"I'm about creating an opportunity. People say I'm loud and obnoxious, but sometimes it’s the squeaky wheel that gets the oil and gets things done," she added.

The comedy comes on the heels of a year gone by in cinema that featured female protagonists in films like Little Women and Captain Marvel.

London, Feb 12: Oscar-winning British director Steve McQueen is returning to his art roots with a series of short films at London's Tate Modern art gallery, offering a sensory exploration of black identity.

McQueen, who became the first black director to win the best picture Academy Award in 2014 for "12 Years a Slave", is now based between London and Amsterdam and is focused on championing diversity in the film industry.

Visitors to his new exhibition will be greeted by "Static", a film of New York's Statue of Liberty, scrutinising the iconic symbol from every possible angle at very close range against a deafening backdrop of the helicopter from where the footage was filmed.

"What interests Steve is our view of the world, how humans are trying to represent Liberty," said Fiontan Moran, assistant curator of the exhibition.

"7th Nov, 2001" features a still shot of a body while McQueen's cousin Marcus tells of how he accidentally killed his brother, a particularly traumatic experience for the artist.

"Western Deep" is another visceral work, giving a sense through sights and sounds in an interactive installation of the experiences of miners in South Africa, following them to the bottom of the mine.

"Ashes", meanwhile, is a tribute to a young fisherman from Grenada, the island where McQueen's family originated.

The images of beauty and sweetness filmed from his boat are tragically reversed on the other side of the projection screen, which shows a grave commissioned by McQueen for the eponymous young fisherman, who was killed by drug traffickers.

African-American singer, actor and civil rights activist Paul Robeson (1898-1976) is honoured in "End Credits".

The film shows censored FBI documents detailing the agency's surveillance of Robeson, read by a voice-over artist, for five hours.

"He is... testing the limits of how people can be documented in an era of mass surveillance," said Moran.

In a similarly militant vein, the exhibition features the sculpture "Weight", which was first shown in the prison cell where the writer and playwright Oscar Wilde was imprisoned.

It depicts a golden mosquito net draped over a metal prison bed frame, addressing the theme of confinement and the power of the imagination to break free.

The show runs alongside an exhibition of McQueen's giant portraits of London school classes, many of which appeared on the streets of London last year.

"I remember my first school trip to Tate when I was an impressionable eight-year-old, which was really the moment I gained an understanding that anything is possible," said McQueen, adding it was "where in some ways my journey as an artist first began".

He recently told the Financial Times newspaper the difference between his art films and his feature films was that the former were poetry, the latter like a novel.

"Poetry is condensed, precise, fragmented," he said. "The novel is the yarn".

The exhibition opens on February 13 and runs until May 11.