“I Bite at the Hand That Feeds Me:” A Watchlist for Vengeful Women

Since November 2016, there has been this swirling pit of rage that permanently resides in the center of my heart, nestled just below the aortic arch. Sometimes it is quiet, like the beach at low tide in the middle of the night, gently ebbing and licking the sand. On days like today, when a sexual abuser is appointed to the highest level of justice, it is an electric maelstrom. More inflamed and unyielding than the Great Red Spot on Jupiter. Stay out of my way; I’m out for blood.

But many other women have written more eloquently about this topic than I could ever hope to, so I will let cinema speak for me. Here are seven films of varying genres (most written or directed by women) that deftly provoke rage against our broken system while simultaneously inspiring that passion for a better world for women and survivors, many of whom overlap. 

1. Shut Up and Sing (2006) dir. Barbara Kopple and Cecilia Peck
Image result for shut up and sing dixie chicks“Just so you know, we’re on the good side with y’all. We do not want this war, this violence, and we’re ashamed that the President of the United States is from Texas.”

After Dixie Chicks lead singer Natalie Maines made this offhand statement at a 2003 concert in London, the vehement backlash from the American country music community nearly ended the trio’s career. Kopple and Peck’s intimate documentary chronicles the aftermath of the incident, including the conception of their 2006 comeback song, “Not Ready To Make Nice.” Their country ballad demonstrated their daring refusal to apologize, denounced the death threats these women received for critiquing their government, and found success as a three-time Grammy award-winning bop!

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Fall 2018: Female Directors

Unlike this summer, female representation behind the camera is being overshadowed this fall by the Ruben Fleischers, Damien Chazelles, and Bryan Singers. While you can’t expect many women-helmed movies at your local theatre, they’ll be making lots of noise on the festival circuit. Along with a description of the theatrical releases to look out for, this piece compiles a list of the female-directed feature films screening at major film festivals. Listing every film at every fall festival would make for an article as long as Bergman’s Fanny and Alexander, so we trust our readers will be on the lookout for women filmmakers at their local festivals, as well as documentary and short films directed by women. All film descriptions are from press materials and all theatrical release dates are for the United States. 

Theatrical releases:

September 21 – NAPPILY EVER AFTER dir. Haifaa Al-Mansour

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Violet has it all: the perfect job, the perfect relationship and the perfect hair. Until an accident at her hair salon makes her realize she’s not living life to the fullest. This romantic comedy, starring Sanaa Lathan, is based on the novel of the same name by Trisha R. Thomas

September 28 – LITTLE WOMEN dir. Clare Niederpruem 

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A modern retelling of Louisa May Alcott’s classic novel follows the lives of the same sisters we know so well — Meg, Jo, Beth, and Amy March — and detailing their passage from childhood to womanhood. Despite harsh times, they cling to optimism, and as they mature, they face blossoming ambitions, relationships, and tragedy, while maintaining their unbreakable bond.

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Most Anticipated Films from Fall Festivals

As the dreadful month of August ends, fall begins and with fall comes the most wonderful time of the year: Festival Season! Venice already started, Toronto and Telluride will follow, then comes London and New York. The happiness and the discourse will spread from the sunny seaside of Italy, bringing film lovers together (or apart) until the Awards Season, in which we all will sell our souls to competition. But until then, enjoy a list of some of the films we cannot wait to see from festival season.

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Dads of 2018: Ranked

A few weeks ago, this tweet by Alexandra Svokos (@asvokos) was posted on Twitter:

Basically, it awoke a burning need inside me. I love film dads. You hopefully love film dads as well. So, why not use my position as a writer on a well-respected film site to rank film dads and distract myself from the existential despair around me? For the sake of brevity (and so I’m not just regurgitating the beautiful tweet above), I chose to focus on 2018 film dads in a specific and simple list, ranked on a lot of different factors. I limited it down to one dad per movie, from movies I have seen and at least superficially enjoyed. There also may be spoilers for any film included on the list, so beware!

Well, girls, gays, and all other dad loving individuals – let’s get to it!

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Criterion Month: The Wild and Traumatized ‘Godzilla’ Universe

Horror films are poignant, cultural commentaries, reflecting our fears back at us. Yes, you may want to sit back, turn on a scary movie, turn off your brain, and just watch giant mutated animals fight each other, but you can’t ignore what they’re saying about their cultural contexts. Take Ishirō Honda’s 1954 classic, Godzilla. At face value, it is a silly movie about a giant lizard stomping on Tokyo while crowds point and scream, “Gojira!” However, it’s more than just an old monster movie — it is a cutting reaction to the 1945 bombing of Hiroshima and Nagasaki and a condemnation of nuclear power. Godzilla is literally awoken by underwater hydrogen bomb testing. But even more, Godzilla’s destruction is reminiscent of these bombings. As he crushes buildings and demolishes cities with his nuclear breath, images of devastated cities are conjured up. Characters in the 1954 film even reference the bombings when discussing their fears of the giant lizard. While these films are weird and wacky, they also serve as a reminder of the atrocities Japan has suffered at the hands of Western society.

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© Toho Co. Ltd. ALL RIGHTS RESERVED

The puppetry is ridiculous and writing can be laughable, but there’s no doubting Godzilla’s influence on the monster movie genre. These five films are the best Godzilla movies Criterion has to offer, from their message to outright monster-fighting hilarity.

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Criterion Month: Nine Gay & Lesbian Filmmakers to Support

The Criterion collection is not the most inclusive of lists. The majority of films introduced into the canon belong to cisgender and heterosexual filmmakers. While the lack of representation reflects cinema as a whole, and Criterion tends to lean towards an era not known for acceptance, it’s still a disappointing fact. Regardless of this, there are a handful of gay filmmakers whose works have been given the Criterion seal of approval, a trusted sign of the contributions they have made, not only to the art of filmmaking, but to the gay cinematic community as a whole.

 

Apichatpong Weerasethakul

Mysterious Object at Noon (2000)

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Apichatpong Weerasethakul © Vogue Italia, photo by Tommy Andresen

Weerasethakul, affectionally known by his fans as “Joe”, is an experimental filmmaker whose interest in the unconventional makes his feature-length debut, Mysterious Object at Noon, a must-watch from Criterion’s archive. Taking the concept of exquisite corpse (a surreal method by which art is assembled based on chance), Weerasethakul combines documentary filmmaking with art-house style, pushing the boundaries of cinema and successfully creating a patchwork story from various interviewees across Thailand.

Though Weerasethakul’s debut does not explicitly address sexuality, the theme is often explored across his work, alongside various subjects such as nature, Western perceptions of Asia, and dreams. His passion for looking beyond the expectations of the mainstream is undoubtedly influenced by his homosexuality. “For me, the word queer means anything’s possible,” Weerasethakul explained in an interview, allying himself immediately with the concept of queer cinema.

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Eight Movies to Watch Now That You’ve Seen ‘Ocean’s 8’

John Mulaney once said, “You could never put together a heist with women. Like Ocean’s Eleven with women wouldn’t work because two would keep breaking off to talk shit about the other nine.” Just like the film’s heist, the success of Ocean’s 8 was high stakes, but with its $100 million domestic gross, the film silences the critics and proves, once again, that women dominate at the box office.

For decades, female ensemble films have been hitting the silver screen and subsequently proved to be substantial and fun entertainment. I asked my social media followers to name their favourite powerhouse group of ladies on film, with the following – of many films referenced – coming out on top.

The Women dir. George Cukor

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While Ocean’s 8 is void of the male criticism predicting a movie full of catfights, The Women (1939) has plenty – one in which Rosalind Russell bites Paulette Goddard leaving her with a scar – and it makes for some good comedy. The film is based on Clare Boothe Luce’s play of the same name and stars some of the biggest names of the era: Norma Shearer, Joan Crawford, Rosalind Russell, Paulette Goddard, and Joan Fontaine. With a supporting cast comprised of Lucile Watson, Mary Boland, Florence Nash, Virginia Grey, Ruth Hussey, Virginia Weidler, Butterfly McQueen, Hedda Hopper, as well as Marjorie Main and Phyllis Povah who reprised their stage roles for the film. Despite the film’s slogan “It’s all about men!”, the entire cast of 130, including extras, were all women (even the dogs featured were female). The central theme of the film is the women’s relationship with the men in their lives, with most of them going to Reno to get a divorce. The film follows these Manhattan socialites, focusing primarily on Mary Haines (Shearer) who, thanks to the gossipy Sylvia (Russell), finds out her husband is having an affair with the perfume counter girl Crystal Allen (Crawford). The claws come out and leads to one of the best scenes of the film, a standoff between Mary and Crystal who dish out some harsh quips. The drama between Mary and Crystal allowed for the interconnectedness of the rest of the cast, as their lives change over the film’s two year period. With witty dialogue and elegant costuming, sparks-fly in this comedic classic of extravagant bitchery.

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