The radical notion that women like good movies
And the worst of it is that awards recognition will probably just send Wes Anderson further up his own ass, if such a thing is even possible. I don’t think I’ll be rushing to see his subsequent films until I hear that he’s finally tried something different.
When it comes to the critique of Sofia Coppola, her filmic style is too often described along the lines of being too pretty, too feminine, or as style over substance. … Male directors, however, who exhibit the same attention to style and aesthetics, are not held to this same ideal. … There is a double standard in the way prettiness is regarded in cinema. “Pretty” is for female directors, but for male directors, prettiness isn’t ever uttered, and reverence is received in its place.
Both ‘Bend It Like Beckham’ and ‘The Darjeeling Limited’ examine Indian women and their romances with white men. Within the interracial relationships explored in these respective films, both Jess and Rita… are burdened with navigating deeply impressed racial boundaries as they move through a modern society.
‘The Danish Girl’ and ‘Tangerine’ collide in their allusion to the notions of gender identity, gender expression and beauty in conversations about trans women. But ‘Tangerine’ takes that necessary next step by centering and humanizing the lives of trans women, which ‘The Danish Girl’ pointedly fails to do.
Check out all of the posts for our Academy Awards 2015 Theme Week here.
Check out the 2015 Oscar Nominees with links to our reviews and articles providing feminist commentary!
The songs allow the audience access to the inner minds of the characters, which is especially helpful for a secretive character like Eve. The songs swirl into a beautiful world where shining girls dance through the streets of Glasgow like it’s their own personal playground, always dressed for a costume party in enviable vintage. Songs cut into elaborate sequences of the band playacting on golden hills in school uniforms and battling with umbrellas on courthouse steps, that seem like mini-music videos. The film is so stuffed with beauty and whimsy that it often seems hard to make room for the parts of the story that are truly ugly.
And the main thing about ‘Violet & Daisy’ I couldn’t puzzle out is what we’re meant to make of the incessant and brutally unsubtle reminders of the title characters’ schoolgirl trappings: popping bubble gum while blasting machine guns, stopping to play hopscotch on the way to pick up ammo, sucking lollipops while chatting with their boss and sharing cookies and milk with their target, giggling while jumping on the bellies of their victims to see blood spew from their mouths. I get that there is a “shocking contrast” between these innocent activities and their professional murdering, but could Fletcher really think that was novel or interesting enough to warrant a whole movie?
And then I think: Oh god, is this a sex thing? This is probably a sex thing. Wait, that’s too gross. This can’t be a sex thing. But oh god, lollipops. Lollipops are always a sex thing.
In the 90s and early 2000s we seemed on the cusp of a sea change in which a white male teenager wasn’t the default character audiences were supposed to identify with. While films about grown women had stars like Whitney Houston (in ‘The Bodyguard’) Angela Bassett (Oscar-nominated for ‘What’s Love Got To Do With It’) and a pre “J. Lo” Jennifer Lopez (in ‘Selena’), films about teenaged girls of color popped up too. Leslie Harris’s ‘Just Another Girl on the IRT’ was released in the early 90s. In 2000 writer-director Jim McKay’s gorgeous, melancholy ‘Our Song,’ about the friendship of three teenaged girls of color (which starred Kerry Washington–in her film debut) opened in theaters.
Check out what we’ve been reading this week–and let us know what you’ve been reading/writing in the comments!
As it turns out, ‘Nymphomaniac: Vol. 1’ is delicately told with both humor and sentimentality. Granted, we are given a rapid sequence of tight close-ups on male genitalia which lasts several minutes, but Gainsbourg’s detached voiceover makes the whole thing feel comical. In fact, we view all the sex acts through Joe’s curious, discerning lens. We’re not just looking at the life of a sex addict, but instead at the intertextual experience of a specific woman who feels she is addicted to sex, but not love. Joe recalls significant moments in her life and analyzes them; in one instance, she wonders why her virginity was taken in a number of thrusts equal to numbers in the Fibonacci sequence.
Let’s Keep Goin’: On Horror, Magic, Female Friendship & Power in Thelma & Louise by Marisa Crawford If men didn’t rape, Louise wouldn’t have shot the rapist. If the system didn’t blame rape victims, they wouldn’t have gone on the run. If men didn’t rape, they could have driven through Texas. If the system didn’t … Continue reading “Travel Films Week: The Roundup”
