In 1940, major cities in the UK were bombed by German troops, causing countless casualties. In order to improve the morale of the people, the British government led the cooperation with major studios to shoot military propaganda films. But the plots of these films were boring, the propaganda was too strong, and they were booed by the audience. In order to add elements to attract women in the promotional film, the Ministry of Information hired female screenwriter Katrin. Carlint is a bewildered but wise ex-ad copywriter hired as a screenwriter by a propaganda department that desperately needed a female perspective on promos. The film she participated in was the protagonist of the soldiers who returned to the UK during the Dunkirk operation. The Ministry of Information hopes to use the film to inspire people. In the beginning, she went head-to-head with producer Barkley, and then met the arrogant and difficult male actor. The story that Catlin was going to shoot was originally about a pair of fishermen sisters sailing a boat to participate in the rescue of Dunkirk, but the studio required that a male protagonist must be included, and the two women could only serve as foils. The protagonist talks about a love triangle. Facing the unreasonable demands of the authorities, Catlin and Buckley used their wisdom to edit the story skillfully between political needs, filming resources, actors' performance, audience reactions and being faithful to the facts. The tacit understanding and love between the two are quietly growing. However, the war continued to deteriorate, the actors left the group one after another, the filming faced difficulties, and Catherine also suffered tragic changes in her life. Just as the film crew was discussing how to fill in the scene that the actor didn't have time to complete, "going into the water to repair the ship and save everyone", as the only remaining screenwriter, Catlin made a decision: let all the heroes in the film be women. The director of this film describes the best times of a group of British people on the fringes of the war with the perspective and brushstrokes of a very different traditional war film. The selection of materials is unique, and the war is described with feminine and life-like brushstrokes, which is delicate and unique. There are few big scenes in the film, and more details of life in Britain during the war. It is a novel film in war films. The two topics of war and feminism are well combined in the film, and the "play within the play" part contrasts with the heroine's experience. However, the feminist color affects the normal development of the story, and it seems to be overwhelming.
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