Love actually, outdated Christmas movie?

Why Love Actually is not the heartwarming romcom you’re remembering

This festive romcom from Richard Curtin is outdated and treats women like pawns in a male fantasy, says Holly Williams Source: The Independent. 

Lesson Plan:  Love Actually: A Critical Analysis

Introduction

1. Watch the movie 
2. Read the article”Why Love Actually is not the heartwarming romcom you’re remembering“
3. Answer the questions below:

1. 1. What are the main arguments of the article about Love Actually’s problematic portrayal of relationships?
   2. What specific examples of the film’s problematic romantic narratives are mentioned in the article?
   3. What is the author’s overall critique of the film’s romanticism?
   4. How does the author challenge the film’s conventional romantic narrative?
   5. What are the consequences of problematic representations of love in popular media?
   6. What is the importance of critical thinking and media literacy in evaluating the messages conveyed in popular films?
   7. Take the Love Actually quiz. 
   8. Look at these two fun fact pages, The Insider and People, and write a short comment on what most surprised you 
   9. Read the article below and write your own comment on the movie. What do you think? 

There’s a lot to hate in Love Actually. But it’s also the ultimate Christmas fantasy

What is it about Love Actually? Richard Curtis’s ensemble Yuletide schmaltz-fest came out 16 years ago, and yet whether you adore it or despise it – for this has never been a film to provoke milquetoast emotions – you can’t deny that it remains a cultural touchstone. The Guardian

In this article, the author discusses the film Love Actually and its polarizing reception. They argue that the film is a symbol of the divided Britain we inhabit today and that it is a paean to centrism.

They point out that the film’s setting in London in 2003 is a world before the financial crisis, before Brexit, and before Boris Johnson. It is a world where everyone is in a palatial flat, a good-looking neoliberal is in charge, and everyone loves him.

The author also criticizes the film for its portrayal of women and for its normalization of stalking. They argue that the film is a fantasy that vanished with the first financial crash and that it is a reminder of a simpler time when politics was working so well for everyone that a film in which the prime minister is a central character need not even be political.

Despite these criticisms, the author concludes by asking readers to forgive their loved ones for having a little chuckle at Love Actually, as they need a bit of comfort and joy.