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”