Originally slated for SXSW, the New York Times is now streaming Hysterical Girl, a documentary short about Freud’s classic case study, Dora: An Analysis of a Case of Hysteria. Writer and director Kate Novack argues that instead of being a case study of sexual repression, Freud’s Dora is actually a classic example of how men ignore, misinterpret, and cover up reports of abuse from girls and women.
I just watched it and was impressed by how many ideas it crammed into 13 minutes. The movie is anchored by a dramatic monologue that uses Freud’s own notes to give voice to Dora’s side of the story. The monologue is illustrated by a rapid collage of images and clips from classic films and TV shows, news coverage of Anita Hill, Christine Blasey Ford, and other women who have stood up to men in power, and hand-drawn animations.
First Cow (2020) ★★★★1/2
Directed by Kelly Reichardt
Written by Kelly Reichardt and Jonathan Raymond
The plain title of Kelly Reichardt’s eighth feature film belies a richly–detailed period piece set in 1820s Oregon Territory. But before immersing you in the past, Reichart opens in the present, with a shot of alarge industrial ship making its way down the Willamette River. Along a piece of undeveloped shoreline, a woman and her dog are walking when the dog’s playful digging uncovers a human skull. Curious, thewoman continues digging to reveal two full skeletons lying next to each another. As is typical of a Reichardt movie, this action unfolds wordlessly but with attention to the sounds of the natural world: the chirping of nearby birds, the dog’s panting and scuffling paws, and the river flowing by. This quiet, observational approach makes the discovery of two skeletons feel interesting, rather than ominous. However, I must admit that what I found most arresting about this scene was a lightweight pink scarf that the woman was wearing tied around her neck in a loose bow. It was the only warm color in a scene dominated by grays, blues, and greens, and as the woman’s scarf fluttered in breeze, I felt that it, as well as the skeletons, had a secret meaning. . .
Read the rest over at The Common
Emma (2020) ★★★1/2
Directed by Autumn de Wilde
Written by Eleanor Catton, based on the novel by Jane Austen
I saw this a couple of nights ago and it was pure delight. My only regret is that I went to see it by myself and not with my husband or with a friend. I left it in a cheery mood, buoyed by the playful costumes, bucolic scenery, intelligent dialogue, and of course, the romantic ending when everyone is happily paired up — except, maybe, for Jane Fairfax. I felt bad for her, and I don’t remember her character from previous versions of Emma, though I must confess that I have never read Emma, so I don’t know if she is from the book or not.
Continue reading “Review: Emma.”
The Assistant (2019) ★★★★
Written & Directed by Kitty Green
When I wrote the heading for this review I thought to myself wow, am I really giving this movie four stars? It’s the unusual instance when using a star rating system is clarifying rather than frustrating, because my reasons for rating it as less than four stars were entirely superficial. In terms of its production, The Assistant it is a “small” movie, but in terms of its themes, and emotional impact, it’s huge. It takes place over a short time period — one day — and involves only a handful of people in a few rooms, with its focus on Jane (Julia Garner), a junior assistant to a film producer. Very little happens and there is hardly any dialogue; there’s only one passage in the film in which two characters engage in extended back-and-forth discussion. All other verbal communication is limited to short or one-sided phone conversations, e-mails, and eavesdropping.
Continue reading “Review: The Assistant”
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: 3/22/20, I added color coding to help me make sense of all the postponements and streaming changes due to Coronoavirus. If it’s still in regular typeface grey, then it means that it I don’t (and in all likelihood, the studio doesn’t know yet, either.)
RED = postponed for now; might premiere on paid platforms
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”
In writing this blog, I’ve learned that the best way to find new female-directed films is by checking out film festival programs, especially Sundance, where a lot of movies get picked up for distribution. (Though I must admit it’s been disappointing to see the number of films that never get picked up.) For my 2018 and 2019 lists of female-directed films, I incorporated Sundance selections into my list of January releases, deleting them as they found distribution later in the year. This year, I’m going to keep the Sundance releases separate, in part because so many of the selections on the 2020 program are directed or written by women.
Continue reading “Female Filmmakers at Sundance 2020”
Here we are, on the very last day of the year, and I have for you my five favorite woman-directed movies of 2019. I was worried that this post was hopelessly late, but then I checked last year’s list and saw that I didn’t write it until January 21, so I’m actually ahead of myself. The truth is that many of the best movies come out during the last few weeks of December, so unless you have screeners, it’s hard to draw up lists like these before the year is over.
Over the past year, I saw 29 new movies directed or written by women, and 18 new movies directed and written by men. With only 29 movies to choose from, I decided to choose only five favorites — which meant I had to leave Little Women off the list. Which was surprising! With all the buzz, I thought for sure I’d adore it, but I’m not sure I like it any better than the 1994 version. I have more to say on that, and will be reviewing it for The Common, but I wanted to give it an honorable mention. Two other movies that also deserve a shout-out are Atlantics and The Farewell.
Before I dive into the list, I want to mention several movies that I didn’t get a chance to see that might have made the list: Fast Color, One Child Nation, Hail Satan?, Little Joe, and Varda by Agnès.
Okay, with those caveats out of the way, here we go, in no particular order, my favorite woman-directed films of 2019 . . .
Continue reading “Favorite Women-directed Films of 2019”