An unsolved mystery, especially one as peculiar as the case of the Lizzie Borden murders, should be like gold dust for filmmakers looking to tap into a ready-made audience. The chance to portray a real story that has peaked our communal curiosity for over a hundred years provides an opportunity to update those old tales for a new, fresher audience, and dare to make judgements through the interpretive lens of a camera. With a wealth of grisly information on the aftermath (Mr. Borden was struck 18 times with an axe; his wife 17), here is the perfect circumstance for an artist to create something devastatingly haunting from a story so deeply embedded in American popular culture. Lizzie promises all of this but never delivers, presenting us instead with a bare-bones carcass of a biopic that is stripped of all individuality, charm, or character.
Continue reading “BFI London Film Festival ’18 Review: ‘Lizzie’ Makes Lesbian Axe-Murderers Seem Boring”
Last year, there was one film that seemed to take up almost all of the space in my head. For all the wonderful movies that came in 2017, none occupied my thoughts or meant more to me than one in particular – this was Luca Guadagnino’s masterful Call Me By Your Name, a film that I have written hundreds of adoring words on over the past ten months, and which I hardly felt I could do justice to in my work. I am not here, however, to revisit Call Me By Your Name but, rather, to discuss the film that appears to have had the same effect on me this year. Though we may only be in September, I doubt that I will find another feature in the coming months that will impact me as much as Desiree Akhavan’s The Miseducation of Cameron Post. Just as Guadagnino’s film gripped every part of me last year, so has Akhavan’s – her depiction of a young, gay woman’s battle with both herself and the cruelty of her environment is as heart-wrenching as it is witty, and feels to me as beautiful and as vital to queer cinema as Call Me By Your Name.
Continue reading “‘The Miseducation of Cameron Post’ – on Its Beauty, Its Bravery, and How Important It Is to Gay Women”
If you’re into lesbian cinema, then you’ve probably heard of Angela Robinson. Her profile has recently expanded; long after blessing us with the likes of D.E.B.S. and Girltrash!, the writer-director went mainstream last year with her vastly under-appreciated Professor Marston and the Wonder Women. (You can read our LFF review of the film here.)
At Much Ado About Cinema, we cherish LGBTQ+ film, and queer cinema is a core foundation of our lives. Robinson is an example of a filmmaker who constantly centres lesbian/bisexual women in her stories, and produces these stories in a way that often makes us feel validated and genuinely represented – she is a brilliant example of why LGBT stories are told best by LGBT people. Whether it’s through comedic parodies or psychosexual dramas, we’ll be following Robinson’s career wherever she chooses to go. If you’re new to her work, take a gander at the profile below: you’ve got a whole lot to catch up on.
Continue reading “Female Director Spotlight: Angela Robinson is an inspiration to lesbians everywhere”