I’ve been working on a novel so I haven’t had as much time for reviewing, but I have been watching. Here’s a quick round up of what I’ve seen over the past few months . . .
KNOCK DOWN THE HOUSE
Director: Rachel Lears
I decided to watch this on Monday night in solidarity for AOC, who had deal with Trump tweeting racist comments at her all weekend. When it was over I felt like Trump’s tweets can’t even touch her, she’s too powerful, too gifted. She just doesn’t take the bait. I believe her response to Trump was something like, “he’s attacking me personally because he can’t defend his policies.” It’s incredible to see such clarity in someone so young. In this documentary, you meet AOC when she is just beginning her campaign, and even then, she has the ability to communicate in an authentic way very quickly and off the cuff.
I feel bad because I’m not mentioning the other women in this film, who also ran for Congress: Cori Bush, Paula Jean Swearengin, and Amy Vilela. They were all in equally difficult races, and unfortunately, they did not win, but seemed poised to unseat someone if they try again. I highly recommend this one for when you’re feeling discouraged by the Trump administration or if you just need to have a good cry.
Continue reading “Movie Diary: May – July”
Writer & Director: Tamara Jenkins
One of the downsides of being an amateur reviewer with small children at home is that I usually see movies after they’ve been released. Though I try to avoid reviews of movies that I know I’m going to see, it was hard to avoid the buzz on Private Life, Tamara Jenkin’s first feature in eleven years about a couple dealing with infertility. It seemed like every podcast I listened to had something positive to say about it, extolling the quality of the writing and the storytelling and the splendid characterization and the wonderful acting. I second all that, but in the end, I had trouble getting into this movie. My attention wandered. A half-hour in, my husband and I both remarked that it seemed like a lot more time had passed, but not because it was slowly paced. Instead we felt like we had already been dragged through so much pain and indecision. The screenplay of Private Life is very carefully constructed, and I wondered if Jenkins was trying to create in the viewer some of the feelings of frustration and detachment that her characters are experiencing. Continue reading “Review: Private Life”
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”