I’ve been neglectful of this blog because I finished a very rough draft of a novel and that took all my time for a few weeks. (Also, I’ve been freaking out about the climate crisis but that’s a post for another day–btw yesterday we set a heat record in NYC when it was 93 DEGREES.) Amidst the artistic and existential meltdowns, I did manage to watch three new woman-directed movies:
Writer and Director: Lorene Scafaria
To celebrate finishing a draft, Mike and I went out to see Hustlers at the Alamo Draft House. Although I’ve been aware of this movie since earlier this year, it was never at the top of my list. I just didn’t think I’d be that interested in a Robin Hood story about strippers and Wall Street guys, even if it was from the perspective of the women. But then it got such great reviews and everyone was going nuts about J. Lo, saying that she was as good as she was in Out of Sight. So I went, I ordered a margarita, and . . .
Continue reading “Catching Up: Extended Summer Edition”
Recently, I’ve seen three really great movies directed by women, movies that everyone said were great and which I really wanted to see, but it took me a while to catch up to them — seven years in the case of one . . .
Writer & Director: Lulu Wang
It’s heartening to see how well this one has done in the theaters. It was released mid-July and it’s still playing in many New York theaters. It is Wang’s second feature, a family drama about a young Chinese-American woman, Billi, who feels conflicted when she learns that her extended family living in China have decided to lie to her beloved grandmother, Nai Nai, about her health. Nai Nai is very ill and according to her doctor, dying of lung cancer, but Nai Nai’s sister tells her that she’s fine and will have a full recovery. Meanwhile, the rest of the family is told the truth. Nai Nai’s children are far-flung, having emigrated to the U.S. and Japan and so a plan is made to allow them to come back and say goodbye to Nai Nai: they pressure a younger member of the family to get married immediately so that there will be a wedding to bring everyone together. This makes for a very awkward family reunion. Everyone is sad but must pretend to be happy; meanwhile, there are long simmering tensions between the family members who have left China and the ones who remain.
I loved how attentive this movie was to family dynamics and how each family member gets a moment and is allowed to reveal their perspective. There’s a low-key humor in every scene, and Akwafina is surprisingly, the perfect anchor. I’m used to her as a zany character but here she is observant and melancholy. The ending was stunning, and reminded me of the final scenes of Lady Bird, when Lady Bird returns to New York City and, without a quick series of images, you realize she has come to the end of a certain period of her life.
Continue reading “Late to the Party”
Director Sophie Deraspe adapts Antigone
I was reading a bummer of an article in Hollywood Reporter about there are only two female directors showing films at the Venice Film Festival, when I remembered that I had meant to check the Toronto Film Festival listings, which, happily, are a completely different story. There are many, many films directed by women and what is especially delightful is the way the website includes “female directors” as a genre, so that you can see a complete listing of female-directed films. This made it especially easy to update my 2019 Female Directed/Written films list.
One of these days I’m going to get to the Toronto Film Festival. It’s been on my bucket list for a long time, because it always seems to have the movies I’m most excited about, and this year is no exception: They are showing Julie Delpy’s My Zoe, Kasi Lemmon’s Harriet, and Marielle Heller’s A Beautiful Day in the Neighborhood.
I just updated this list after a few months and wanted to repost with corrected release dates and new additions. I’ll continue to update throughout the year.
(Last updated: 10/02/19)
Continue reading “2019 Films Written or Directed by Women”
The Souvenir, British director Joanna Hogg’s fourth feature film, is the first part of a two-part memory piece that focuses on a love affair that took place in Hogg’s early twenties, when she was in film school in London. Though not quite a memoir, the film is unabashedly autobiographical, and similar to Alfonso Cuaron’s recent Roma in how it seeks to reconstruct a particular period in the director’s life. To play a version of herself, a young woman called Julie, Hogg has cast Honor Swinton Byrne, a newcomer who at this point in her life is best known as Tilda Swinton’s daughter—though her performance in The Souvenir and next year’s sequel will likely change that. Swinton herself plays Julie’s mother, Rosalind, tamping down her usual charisma to embody a meek matron who rarely exerts her influence or reveals her knowledge of the world. It’s startling to see Swinton this way, especially with Byrne nearby, exuding youth and curiosity. With her height and her red hair, Byrne looks enough like Swinton to bring to mind her mother’s glamour, but also has a calm dreaminess that it is all her own.
Read the rest over at The Common . . .
This movie was a like canned rosé wine: light, great for a picnic, and not very complex. You could do something else while you watch this movie — like get play cards and gossip with friends — and not miss much of anything. I really enjoyed it even as I can’t vouch for its quality.
Continue reading “Wine Country”
From its joyous opening dance sequence to its melancholy ending, Birds of Passage (Pájaros de verano) is unlike any movie you have seen about illegal drug trafficking. It’s a gangster movie that downplays violence, looks closely at attempts at peacemaking, and is centered on the fate of a mother and a daughter. Set in Colombia between the late 1960s and early 1980s, the film is told from the perspective of a Wayúu family who live in the arid, northern region of the country and become significant exporters of marijuana to the U.S. Their success in the drug trade brings wealth, but it also pulls them into a world of violence and greed that engulfs and divides their family and their community.
Read the rest of this review over at The Common