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 . . .
We’re well into 2019 and I’ve barely watched any movies because my kids have been so sick. January was a festival of viruses, a nasty cold that just never left and then, last week, when the last of the phlegm departed, my baby brought home a novel stomach flu that incubated for about 36 hours before hitting me, my husband, and my first-grader in six-hour intervals.
I feel like this is the third or fourth time I have written about illnesses, so at this point it is a leitmotif of this blog and probably warrants its own tag.
When Under The Tuscan Sun came out in 2003, I was 25, and I remember kind of wanting to see it, but feeling that it was for older women. That feeling didn’t always stop me from seeing movies I wanted to see–for instance, I sat in a theater of seventy-somethings watching the 2004 Cole Porter biopic De-Lovely–but in this case, I think a part of me thought I should save this movie for a time in my life when I needed it.
Well, my two readers, that time has come. I’m 40, and I spent the past six weeks cooped up in a virus-ridden apartment with two small children and an unfinished novel manuscript. (The second unfinished novel to take up residence in my laptop in the past few years.) One night, I was perusing HBO’s offerings and I saw beautiful Diane Lane and a bouquet of yellow sunflowers. I thought, that is exactly what I need: Diane, flower gardens, Tuscany, and a serious real estate makeover. Continue reading “The Two Movies That Got Me Through January”
Writer & Director: Sandi Tan
In 1992, at age 19, novelist Sandi Tan wrote and starred in Shirkers, a feature-length road movie shot on the streets of Singapore. The title was inspired by Tan’s idea that in life, there were people who were neither movers nor shakers, but shirkers—those who evade responsibility and duty, escaping the confines of society. It starred Tan as S., a murderer and kidnapper on a mysterious mission to save children. One of Tan’s points of inspiration was J.D. Salinger’s The Catcher in the Rye. The plot didn’t matter as much as the mood, which Tan cultivated through carefully chosen locations, props, costumes, and music. Tan hired a friend to compose a soundtrack on his electric guitar, and hand-made many of her props, including a colorful board game that S. uses to plot her kidnappings. S.’s costume was a pink sailor shirt and blue knee-length shorts; she carried an old-fashioned camera on a strap, as well as a leather suitcase. “When I was eighteen,” Tan explains, “I thought you found freedom by building worlds inside your head.”
To read more follow this link to The Common
Director: Marielle Heller
Writers: Nicole Holofcener and Jeff Whitty
This has to be one of the best movies about writing that I’ve seen, one shows, in a realistic way, the difficulty of making a living as a writer, and the special cruelty of the New York publishing world. Based on Lee Israel’s memoir of the same title, it’s about a down-on-her-luck biographer (Melissa McCarthy) who turns to literary forgery as a way to pay her bills. Israel, who died in 2014, found plenty of work as a journalist and author in the 1970s and 80s, but had a dry spell after her biography of Estee Lauder was panned by critics and sold poorly. Can You Ever Forgive Me? takes place in the early 1990s, when Lee begins to forge letters by famous writers like Dorothy Parker and Noel Coward to sell to collectors. Continue reading “Review: Can You Ever Forgive Me?”
On Sunday I went to the New York Film Festival to catch a screening of Be Natural: The Untold Story of Alice Guy Blaché. This is a new documentary by Pamela B. Green about the first female film director, a young Parisian woman who began making films in 1897, just as film cameras were being invented and refined. Not only was she the first female director, it’s possible that she was the first narrative director, period. And yet, her contributions have been lost to history, while the achievements of the men she worked with have been lionized.
Co-written by Joan Simon, who curated an exhibition of Blaché’s films at the Whitney Museum, this is a documentary that aims to be accessible to someone who knows nothing or very little about Blaché — so, perfect for me. Although I’ve now seen a few of her films, I discovered her when I was looking for a title for this blog and wanted to find another female film pioneer to go with Thelma — preferably someone with a two-syllable name. Yes, my search was exactly that superficial, but sometimes the best bits of research are happy accidents. Discovering Blaché has brought me back to the birth of cinema, something I’d never given much thought to — and it’s been a delight to find that someone like Alice was there at the beginning. Continue reading “Review: Be Natural: The Untold Story of Alice Guy Blaché”
When I was working on my most recent update of 2018’s women-directed films, I noticed a small trend: Netflix acquired a lot of the best women-directed movies and documentaries from film festivals, and they’ve also financed a number of women-directed movies. Netflix has such varied offerings that it’s a little difficult to come up with definitive stats, but just eyeballing it, they seem to have an unusually high percentage of female-directed and/or written movies on offer, including well-established directors like Nicole Holofcenter and Tamara Jenkins. Finally, Netflix has already been getting a lot of press for their recent efforts to bring back the rom-com, but I’m not sure anyone has noted that almost half of these movies are directed or written by women: Set It Up, Sierra Burgess Is a Loser, To All The Boys I’ve Loved Before, Nappily Ever After, and Us and Them.
Here’s a complete list of upcoming films. I’m especially excited about the ‘coming soon’ section, which contains a couple of film festival acquisitions, including The Kindergarten Teacher, a remake of an Israeli film, starring Maggie Gyllenhaal, and Proustian-sounding documentary, Shirkers, about a writer who recovers film from a movie she shot in 1992.
Continue reading “Trending on Netflix: Female Filmmakers”