Madeline’s Madeline is unafraid to delve into the volatile psyche of a teenage artist. Art is so often used as a tool to sort through perplexing emotions, so it makes sense that struggling teens tend to lose themselves in this low-cost form of therapy. This semi-experimental fever dream poses the question: At what point in the creative process does art as personal self-expression begin to do more harm than good?
Madeline (newcomer Helena Howard) is a 16-year-old actress in a physical theater troupe, fresh out of a brief stay in a psychiatric ward. Her teacher Evangeline (Molly Parker) is at once forceful and understanding, as if Fletcher from Whiplash actually had a heart. On the flip side is Madeline’s mother Regina (Miranda July), an unstable but ultimately loving helicopter parent whose moods, like Madeline’s, violently change at the blink of an eye. From a more neutral perspective, Regina’s actions may come across as a frustrated, terrified mom doing her best to make sure her daughter stays healthy. But the eyes of a teenage girl, especially one with mental illness, see the world through a distorted lens. I know this because I once was one.
Continue reading “‘Madeline’s Madeline’ Expertly Blurs the Line Between Performance Art and Reality”
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.
September 21 – NAPPILY EVER AFTER dir. Haifaa Al-Mansour
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
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.
Continue reading “Fall 2018: Female Directors”