This was a good year for female directors. The cynical part of me wants to say that’s because the studios were more likely to release movies made by women in a year of cutting losses. But it may also be the result of efforts to boost equity in the wake of the Weinstein revelations, which occurred in late 2017. If a lot of female-directed/produced movies picked up for distribution after premiering at 2018 and 2019 film festivals, the majority of those titles would start coming out in 2020.
When I was writing this list, I wasn’t sure what should count as a 2020 movie, since the Academy Awards have been pushed back to April. Ultimately, I decided only to include movies that were available via VOD in 2020, so this list doesn’t include some big titles like Regina King’s One Night in Miami and Chloe Zhao’s Nomadland, although I plan to catch up with them when they are released later this month and in February. This list is a reflection of my year, and what I was able to watch on streaming platforms, “virtual” cinemas,” and via screening links. It’s probably a little quirkier than my previous best of lists in 2018 and 2019, but this was an odd year, and I’d guess that the next couple of years are going to continue to be unpredictable as Hollywood figures out what movie-going looks like in a post-COVID world.
Watching movies has been a welcome distraction over the past few weeks. I’m breathing a sigh of relief that Biden won but very distressed by the way Covid-19 is spiking all over the country. Looks like we’re all going to be inside for several more months. Here are some new movies to keep you company . . .
It’s hard to know, at first, what is amiss in the well-to-do Australian household at the center of Babyteeth. We first meet the daughter, Milla (Eliza Scanlen), standing on a train platform in her private school uniform, waiting with her friends at the end of the school day. When a feral-looking young man in grubby clothing jostles her, it seems at first that she’ll be scared, or at least irritated. Instead, she’s enthralled, and brings him home to her parents. It’s clear that he’s too old for her, and possibly a drug dealer, but Milla’s mother (Essie Davis) has taken so much anti-anxiety medication that she can’t focus on her daughter’s unusual guest. The father (Ben Mendelsohn), a psychiatrist, is equally distracted — he’s secretly dosing himself with morphine and nursing a crush on a pregnant neighbor in her third trimester. She’s the movie’s clock. But what are we counting down to? What bomb is about to go off?
After a few years of cutting back on TV so that I would have more time for movies and books, I’ve been watching more of it. Blame quarantine. But one thing I really like about television is that there are a lot more female writers and directors. Women seem to be given more free rein in television, I guess because it’s seen as a less risky financial investment, or maybe because there is such a need for streaming content that networks are willing to take a chance on women. Who knows. In any case, my many of my favorite shows over the past few years have been helmed by female showrunners — shows like Marvelous Mrs. Maisel, Catastrophe, Transparent, and of course Fleabag.
I realized the other day that my current favorite shows are also written and directed by women, so I thought I’d write about them here . . .
Are you looking for a stunning love story to watch tonight? This is it. I reviewed it for The Common last year when it was in limited release. It goes into wide release this weekend. See it on the big screen with surround sound! You need to hear the waves crashing, the fires crackling, and the music in the final scene.