Last night was a pretty good Oscars for the few women who did get nominated. I’m disappointed — and a little surprised — that Greta Gerwig didn’t win best adapted screenplay, but her costume designer, Jacqueline Durran, did win — a well-deserved win, I thought, because her costumes were so expressive of each character.
As I predicted, ‘Joker’ composer Hildur Guðnadóttir won for her score for Joker –and was the first woman in 20 years to do so. (L.A. Times)
I was really happy that that American Factory won best documentary, which was co-directed by Steven Bognar and Julia Reichert. That was easily one of the best movies I saw last year. The footage they got, especially with factory’s management, was extraordinary.
In the short documentary category, Carol Dysinger won for Learning to Skateboard in a Warzone (If You’re a Girl), which I haven’t seen but am eager to catch up with.
Finally, Barbara Ling and Nancy Haigh won for production design of Once Upon A Time in Hollywood.
There’s been a lot of talk about who didn’t get nominated for the Oscars and should have, and while I’m as disappointed as anyone that Greta Gerwig didn’t get a director nod, she did get nominated for best adapted screenplay, and her costume designer, Jacqueline Durran, was nominated as well. So those are two women that I’m rooting for. (In fact I wrote a review that is pretty much an argument for why Gerwig should win for best adaptation.)
Looking over the other nominations, I noticed the usual gender breakdown, with a lot of women in the art department, but hardly any in the cinematography, special effects, and editing categories — though I was happy to see that this blog’s namesake, Thelma Schoonmaker, was nominated for editing The Irishman.
Here are some other women to watch for this weekend. This isn’t a comprehensive list of all the female nominees (though it’s close), just the nominees whose work I am familiar with from the past year in movies . . .
Continue reading “The Women Who Did Get Nominated for Oscars”
Miss Americana (2020) ★★★
Directed by Lana Wilson
For a few years, my friends teased me because one evening in 2009, after I’d been writing for a few days and hadn’t paid much attention to the news, I asked if anyone could fill me in on whatever it was that had happened between Kanye West and Taylor Swift earlier in the week. Um, yeah. They could fill me in. Pretty much anyone I talked to at the bar could have filled me in at that point. I’d thought I was bringing up a piece of light gossip, but my friends quickly informed me that this was a world historical Internet Event, one so engulfing that even President Obama had weighed in.
Continue reading “Review: Taylor Swift: Miss Americana”
I spent most of last month trying to finish up a revision of my novel but as usual was waylaid by winter colds and family issues. (As I write this, my son is home sick for the second day in a row.) In the meantime, I caught up with some movies from 2019 that I missed. Here are some quick reviews:
Wild Rose (2019) ★★★1/2
Directed by Tom Harper
Written by Nicole Taylor
At first I was a little underwhelmed by this movie, but the music and the writing won me over. The story is more complex than it at first seems and I really fell in love with Jessie Buckley’s voice, especially her rendition of “Peace In This House.”
Continue reading “January Movie Diary”
I have friends who cried their way through Greta Gerwig’s Little Women, and I expected that I would, too, but I spent much of my first viewing in a state of mild agitation. I had re-read the novel a few days before seeing the film, and was distracted as I tried to figure out the mechanics of Gerwig’s complex temporal structure. Little Women was originally published as two books: Little Women and Good Wives, and Gerwig braids together these two volumes, going back and forth between past and present. As with Gerwig’s debut feature Lady Bird, the pace is galloping. Not only are there two separate timelines, Gerwig cuts rapidly between characters and locations within each timeline.
Read the rest over at The Common . . .
This is a ongoing list of 2020 movies written or directed by women, mostly narrative films, but I’ve thrown in some documentaries, too. I’ve included specific dates when available, but as you’ll see, there are many movies at the bottom of my list that are slated for 2020 but don’t yet have release dates. I’m sure I’ve missed some titles, so if you have any suggestions, please leave a comment.
Last updated: 4/23/20, I added color coding to help me make sense of all the postponements and streaming changes due to quarantine.
RED = postponed or unknown (to me) release date
GREEN = premiering on video on demand and drive-in theaters
BLUE = originated in theaters, now streaming or will soon stream on paid platforms
PURPLE = originated on streaming subscription platforms
It may be that in a few weeks this color-coding will be obsolete because everything will just have a new streaming release date. Or it could be that I’ll have to have a new color for movies that are postponed but will be released in theaters in the fall.
Continue reading “2020 Movies Directed or Written by Women”
Clemency (2019) ★★★1/2
Written and directed by Chinonye Chukwu
Clemency looks closely at the bureaucratic processes and day-to-day workplace politics behind the administration of the death penalty. In doing so, it powerfully argues that the death penalty is psychologically cruel to the prisoners who receive it as a sentence, the prison workers who carry out the executions, and even the families of those victimized by crime. It’s one of the most intellectually engaging movies I’ve seen over the past year, one that forced me to sit with a lot of difficult questions that went beyond whether or not the death penalty should exist.
The movie opens on the evening of an execution, overseen by the prison warden, Bernadine Williams (Alfre Woodard). Warden Williams is pensive as she manages the people who will join her in the execution room: a priest, a security officer, her deputy, and a medic who will give the convicted man with a lethal chemical injection. Everyone seems tense as they strive to follow set procedures. When the medic has difficulty finding a good vein, the injection goes shockingly wrong, resulting in a cruel, painful death that leaves everyone shaken.
Continue reading “Review: Clemency”