Never Gonna Snow Again (2020) Directors: Malgorzata Szumowska and Michal Englert
This haunting, meditative movie got under my skin even as I wasn’t totally sure what it was trying to say, and sometimes felt that the filmmakers were also unsure. More often than not, scenes seemed to exist to establish a certain mood rather than to advance a story. But I didn’t care. The images were strange and beautiful, tinged with magic and sci-fi, and posing questions about life after death, the nature of healing, and climate change. Written and directed by Malgorzata Szumowska and her long-time DP Michal Englert, the film was Poland’s entry for the Oscars for Best Foreign Picture. The story centers on a masseuse, Zhenia (Alec Utgoff), a Ukranian immigrant whose work takes him to a gated suburb on the outskirts of a large city. Zhenia goes from house to house carrying his folding massage table and getting an intimate look into the houses that all look the same from the outside, but whose occupants each carry their own specific pain. In its simplest telling, it’s a story about upper-middle class suburban life, with Zhenia as the all-seeing narrator who draws connections between the families’ shared spiritual malaise. But beneath that structure is a darker and more mysterious tale about humanity’s relationship to a dying planet.
E.T. (1982) Director: Steven Spielburg Writer: Melissa Mathieson
Last night I watched E.T. with my two children, aged 3 and 8, for family movie night. I watched this movie a lot as a kid, but I don’t think I ever saw it in the theater. Instead I had a VHS tape of it, recorded from when it was on TV. There are certain scenes from E.T. that are like my own childhood memories — like in the still above, when Gertie dresses E.T. in her clothes. And there’s another scene when E.T. hides in the closet full of stuffed animals, because he’s scared. I loved that. The set design in this movie is impressively detailed and gives the sense of what it’s like to be in a house full of kids. Everything is messy but the objects are also very beloved and special. The house also helps to tell the story: you get the sense that everything is a bit more chaotic than normal because the parents have just separated. The mother is barely holding it together as she works full time and parents three children, and her housekeeping is a place where she has decided to let things go. That’s how E.T. manages to live there without her noticing.
All the Light in the Sky (2013) Director: Joe Swanberg Writers: Jane Adams & Joe Swanberg
I watched this mellow movie a few weeks ago and I’ve been thinking about it ever since. It’s a showcase for Jane Adams, an actor who often seems like the most fully realized character in any scene, even when she’s on for just a minute or two. I think she first caught my eye in Eternal Sunshine of the Spotless Mind, where she plays the beleaguered wife of the protagonist’s friend. She only has a couple lines but she suggests an entire life and marriage. She’s one of those character actors who, once you become aware of her, you begin to see everywhere. She’s been working steadily since the late 1980s, when she was a student at Juilliard. Looking at her IMDB, it looks like she supplemented a theater career with bit parts in film and TV, appearing in shows like Family Ties and Frasier. I associate her most with indie directors, especially Joe Swanberg, who directed this movie and is a frequent collaborator.
Little Joe (2019) Writer & Director: Jessica Hausner
I was initially turned off of this movie –and maybe you were, too — when it first appeared in the U.S. in late 2019. It got mixed reviews, including a lot of pans, and I lost track of it in the rush of end-of-the-year releases. I was reminded of when it turned up on Pedro Almodovar’s list of the best movies of 2020 and then, when I saw that it was streaming on Hulu, I decided to give it a try, and I’m so glad I did. It’s an eerie story about the ways humans try to control the natural world, and at first it seems like it’s going to be a high-concept commentary on the danger of GMOS. But then it turns into a kind of meditation on the nature of perception and reality. I can see why a lot of viewers would find it frustrating, but I would have watched it for the color scheme alone.
The Dig (2021) Director: Simon Stone Writer: Moira Buffini, based on a novel by John Preston
With its dramatic cinematography, starry cast, and subtle art direction, The Dig is so smooth and elegant that it sometimes feels lightweight, despite its heavy themes. Set in 1939 in the English countryside, it tells the story of a remarkable archeological discovery on private land. It’s also a portrait of a grieving widow and a country on the verge of war. While this isn’t the most suspenseful movie you’ll ever see, its themes deepen as the story unfolds. In the final act, there was some Malick-like camerawork that had me thinking about the desperate sadness of war, but in general, I was reminded of high-production television shows like The Crown. The truth is, I watched this over two nights, stopping it halfway through, as if it were a television show, and while I try to avoid doing that, I thought that viewing method suited this movie just fine, and maybe even enhanced it. If I’d seen The Dig on the big screen, I think it would have been a disappointment. As a Netflix movie, it’s a pleasant weeknight diversion.
I’m calling it: Herself is the first movie of the Biden Era. It’s empathetic, kind, and emotionally direct. It’s the kind of movie where characters say things like, “you impress me so much.” It would not have been out of place for anyone to remark, “Here’s the thing about life: there are some days when we need a hand and there are other days when we’re called upon to lend one.” Set in Ireland, Herself centers on a single mother, Sandra, who needs help starting over after leaving an abusive marriage. Her employer, friends, and acquaintances quickly come to her aid, volunteering to help her build a house for her and her two young children. It sounds corny, but isn’t in the least, because director Phyllida Lloyd makes room for the complexity of abusive relationships, as well as the lingering psychological and physical trauma. This isn’t a story where everything is okay in the end, but it is one where people are decent and kind to one another, and do their best to fix what is broken and heal one another.
For the past couple of years I’ve compiled an annual list of movies that are directed or written by women. This year is hard to predict, but here’s a preliminary list to get 2021 off to a good start. I’ll be updating every few weeks. Judging from how much the dates have changed in just the past few weeks I’m guessing these will move around a lot over the course of the year.
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.
I finished revising my novel a few weeks ago and since then I’ve been catching up on 2020 releases. There are so many 2020 female-directed movies that I want to still want to watch that I divided the remaining titles into three categories: Must See, Should See, and If Time. Theoretically I was going to start with the Must See list but I ended up watching two from the If Time category, including Summerland (pictured above) and The Glorias, and was pleasantly surprised by how much I enjoyed them both. Below, you’ll find reviews of those two, as well as five other recent movies . . .
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 . . .