Author: Amber Leab

Director Spotlight: Deepa Mehta

Deepa Mehta

Indian-born and Canadian-based writer and director Deepa Mehta has gained international acclaim and numerous awards and nominations for her films. She is probably most famous for her Elements Trilogy, which includes the films Water, Earth, and Fire. Her latest project is an adaptation of Salman Rushdie’s Midnight’s Children, which she is directing and adapting with the author.
I’m currently working my way through the trilogy, with plans to write a piece about the films in the not-too-distant future. Her work tends to deal with the experience of Indian women, both in their home country and as immigrants. If you’re not familiar with Mehta’s work, I strongly recommend checking her out. Here is a selection of her feature-length films.

Heaven on Earth (2008)
Heaven on Earth is Mehta’s most recent film. It won awards from the Chicago International Film Festival and the Dubai International Film Festival, along with several other nominations, including two from the Director’s Guild of Canada. I haven’t yet seen it, but here is the description from the film’s official website:
When Chand (played by Bollywood superstar Preity Zinta) arrives in Brampton, Ontario to meet her new husband, she leaves behind a loving family and supportive community. Now, in a new country, she finds herself living in a modest suburban home with seven other people and two part-time tenants. Inside the home, she is at the mercy of her husband’s temper, and her mother-in-law’s controlling behaviour.

After a magic root fails to transform her husband into a kind and loving man, Chand takes refuge in a familiar Indian folk tale featuring a King Cobra.

Watch the trailer:

Water (2005)
Although the final film in her Elements Trilogy, Water was the first one I saw. In addition to being a beautiful film, I learned something about Indian culture in the time of the rise of Mahatma Ghandi, and a practice that segregates widows from society that continues even today. There was a good bit of controversy in the making of the film, which took Mehta some seven years to complete–due, in part, to moving the filming to a different country and recasting its leads (be sure to check out the Director’s Statement for more on the story). Water was nominated for a Best Foreign Language Film Academy Award, won numerous other awards, and garnered even more nominations. Here’s the description from IMDb:
In 1938, Gandhi’s party is making inroads in women’s rights. Chuyia, a child already married but living with her parents, becomes a widow. By tradition, she is unceremoniously left at a bare and impoverished widows’ ashram, beside the Ganges during monsoon season. The ashram’s leader pimps out Kalyani, a young and beautiful widow, for household funds. Narayan, a follower of Gandhi, falls in love with her. Can she break with tradition and religious teaching to marry him? The ashram’s moral center is Shakuntala, deeply religious but conflicted about her fate. Can she protect Kalyani or Chuyia? Amid all this water, is rebirth possible or does tradition drown all?

Watch the trailer:

Bollywood/Hollywood (2002)
Somewhat lighter fare, Bollywood/Hollywood is a comedy of marriage, tradition, and identity. Here is the description, again from IMDb, as I couldn’t find an official film site for this one. (If anyone knows of the site, please leave it in the comments and I’ll update the post!)
After Rahul’s white pop-star fiancée dies in a bizarre levitation accident his mother insists he find another girl as soon as possible, preferably a Hindi one. As she backs this up by postponing his sister’s wedding until he does so, he feels forced to act, the more so as he knows his sister is pregnant. But it’s a pretty tall order for an Indian living in Ontario, so when he meets striking escort Sunita who can ‘be whatever you want me to be’ he hatches a scheme to pass her off as his new betrothed. Things get complicated when his family start to take to her and he realises his own feelings are becoming rather stronger than that.

Watch the trailer:

Earth (1998)

Earth is the second film in Mehta’s Elements Trilogy. The film seems to have won only a single award, and is based on Bapsi Sidhwa’s novel, Cracking India. Released in India as 1947: Earth, the film chronicles the division of India and Pakistan. From a plot summary on IMDb:

This story revolves around a few families of diverse religious backgrounds, namely, Muslim, Hindu, Sikh, and Parsi, located in Lahore, British India. While the Parsi family, a known minority in present day India, are prosperous, the rest of the families are shown as struggling to make a livelihood. Things change for the worse during 1947, the time the British decide to grant independence to India, and that’s when law and order break down, and chaos, anarchy, and destruction take over, resulting in millions of deaths, and millions more rendered homeless and destitute. In this particular instance, Shanta is a Hindu maid with the Sethna (Parsi) family, who is in love with Hassan, a Muslim, while Dil Navaz loves Shanta, and wants her to be his wife, she prefers Hassan over him. This decision will have disastrous effects on everyone concerned, including the ones involved in smuggling Hindus across the border into India.

Watch the trailer:

Fire (1996)
Fire, the first film in the Elements Trilogy, is the one set in most recent times. It won numerous awards, including Audience Choice at various film festivals. The film was banned in Pakistan, and later in India for “religious insensitivity” and the depiction of a lesbian relationship. 
Here is a brief description from Amazon (but for a more in-depth take read Burning Love from the Bright Lights Film Journal):
Fire is the first film to confront lesbianism in a culture adamantly denying such a love could ever exist. Shabana Azmi shines as Radha Kapur in this taboo-breaking portrayal of contemporary India and the hidden desires that threaten to defy traditional expectations. In a barren, arranged marriage to an amateur swami who seeks enlightenment through celibacy. Radha’s life takes an irresistible turn when her beautiful young sister-in-law seeks to free herself from the confines of her own loveless marriage and into the supple embrace of Radha.

Watch the trailer:

Mehta’s films not mentioned here include Sam & Me, Camilla, The Republic of Love, and more.

You can read previous Director Spotlights on Allison Anders, Kathryn Bigelow, Jane Campion, Sofia Coppola, Tanya Hamilton, Nicole Holofcener, and Agnes Varda, and a Quote of the Day on Dorothy Arzner.

Quote of the Day: Andi Zeisler

Andi Zeisler, Co-Founder of Bitch Magazine
In The B-Word? You Betcha., published in the Washington Post in 2007, Andi Zeisler, co-founder of Bitch Magazine, discussed the choice of title for the magazine and the cultural significance of the word “bitch.” The piece was published during the 2008 Democratic primary, when the term was routinely applied to candidate Hillary Clinton, as a term of derision and as a compliment (Tina Fey’s Saturday Night Live Weekend Update segment comes to mind, in which she declared “bitch is the new black” and “bitches get things done”). Still, the word remains controversial, and one that many people choose not to embrace. With respect to those people, we do embrace the term.

Here’s Zeisler on the word “bitch:”

People want to know whether it is still a bad word. They want to know whether I support its use in public discourse. Or they already think it’s a bad word and want to discuss whether its use has implications for free speech or sexual harassment or political campaigns.

[…]

So here goes: Bitch is a word we use culturally to describe any woman who is strong, angry, uncompromising and, often, uninterested in pleasing men. We use the term for a woman on the street who doesn’t respond to men’s catcalls or smile when they say, “Cheer up, baby, it can’t be that bad.” We use it for the woman who has a better job than a man and doesn’t apologize for it. We use it for the woman who doesn’t back down from a confrontation.

So let’s not be disingenuous. Is it a bad word? Of course it is. As a culture, we’ve done everything possible to make sure of that, starting with a constantly perpetuated mindset that deems powerful women to be scary, angry and, of course, unfeminine — and sees uncompromising speech by women as anathema to a tidy, well-run world.

Bitch Flicks’ Weekly Picks

Between the Personal and the Political: The Lawyer, Her Boss and Their Investigator from in media res

For Your Consideration: 13 Underdog Actresses that Deserve Oscar’s Attention this Year from indieWire

Feminist Ryan Gosling (even though you’ve all seen it, right?)

Lifetime to Remake ‘Steel Magnolias’ with All-Black Cast from Deadline Hollywood

Bringing Up Baby: Childbirth as Male Bonding Experience from Bitch

Report: Reality TV Encourages “Mean Girl” Behavior in Teens from Deadline

You Are Not Alone: Black Male Feminists in Action from Clutch

Young Girls’ T-Shirt Inventory Isn’t Looking Good from Jezebel

Leave your links in the comments!

Eff You, Dr. Pepper: An Open Letter

Dear Dr. Pepper,
I personally find your beverages delicious, and happen to make a majority of the purchasing decisions for my household. Thanks to your outrageous ad for Dr. Pepper 10, which I just saw last night, we will no longer drink any variety of Dr. Pepper. 
Please advise.
Sincerely,
Me
P.S. Here’s the ad referenced above, just in case you outsourced this campaign to some teenage boys (although the use of “woman” rather than “girl” suggests that adults did, in fact, create the ad) and you have no clue what I’m talking about (despite this and this and this and this, and this, etc.).

P.P.S. I’m really tired of sexism-as-humor in marketing campaigns. I’m not just talking about the “not for women” thing, though I’m certainly not a fan of that idea. This whole “man up and be a manly man” shit has to stop. You’re not the first to equate a beverage with masculinity, although you’re the most straightforwardly sexist, and probably the least funny. Here are a couple of other examples of unacceptable ad campaigns, so you know what not to do when you re-do this one.
Miller Lite:

Pepsi Max:

P.P.P.S. Yes, I’m aware that companies often create outrageous advertising for the buzz and free promotion it generates. I’m also aware that this open letter generates additional promotion for the products listed above. That said, companies that gamble with such sexist messages risk alienating customers (like me and probably a lot of others), and deserve public scorn.
Readers: Have you written or read elsewhere about the new campaign for Dr. Pepper 10, or other Manly Beverages? If so, please leave your link in the comments and we’ll include it above.

Guest Writer Wednesday: Geek Girl Con: Feminism, Race, and Geek Culture

This cross-post from Jarrah Hodge previously appeared at Gender Focus.
This is the first in a series of posts about Geek Girl Con, which was held in Seattle October 8-9.
 
While some Canadians were celebrating Thanksgiving (or not out of protest or ambivalence), I was attending the inaugural Geek Girl Con in Seattle, Washington. The weekend was full of interesting panels and discussions and I took a bunch of pictures and notes, so will be writing a series of posts on the various issues that were covered.
The first full panel I attended was called “Feminism, Race, and Geek Culture”. It was moderated by Regina Buenaobra, community manager for ArenaNet for Guild Wars and Guild Wars 2. On the panel were Sociology student Michelle Hu, BreadPig employee and ROFLCon co-founder Christina Xu, and web developer Nina Reyes. Unfortunately the awesome Racialicious blogger Latoya Peterson wasn’t able to make it.
The panel talked about their own experiences with discrimination and stereotyping in geek communities.
Talking about organizing ROFLCon, Christina recalled that the first year they ended up with a huge majority of white male speakers because they were just going with who they’d seen before at other conventions. Talking more generally about conventions, Christina said she’d encountered a lot more awareness about lack of women’s representation than that of people of colour: “People bring up lack of women on stage very frequently but hardly anyone brings up lack of people of colour.”
But Nina Reyes noted the intersections between race and gender in geek culture are more complicated. As a coder, she said she felt a lot more singled out as a woman than as an Asian, since Asians were stereotyped as being good at coding and computer careers.
Another question that came up for the panel was on representations of women and people of colour in geeky fandoms.
“It’s important as a person of colour to see yourself well represented in these types of media,” Michelle Hu argued.
“If you are a white male reading comic books you have a choice of who you want to be. Me, I’m stuck with Jubilee all the time,” Christina added. They both noted that just casting some people of colour or making a token reference to other cultures isn’t enough, using the short-lived but much loved Joss Whedon show Firefly as an example. The show often featured characters speaking Mandarin poorly.
Xu pointed out this “race-bending” is insulting and causes anger because studio’s don’t seem to care enough to try and find someone to play a part who actually speaks the correct language or belongs to the race that will be portrayed. It’s similar to ending up with an all-white convention lineup because you’re just going with who you’ve heard of before.
A question from the audience that I was particularly interested in was about white people role playing characters of other races in RPGs. In response, Christina Xu referenced Lisa Nakamura’s article: “Race In/For Cyberspace: Identity Tourism and Racial Passing on the Internet” as a good resource for learning more about why this is problematic.
“As somebody who comes from a place of privilege you have the ability to …fulfill your identity as an exotic other,” Christina said, “But it leaves others less room to live their own identities and it perpetuates creepy stereotypes.” She said she wouldn’t say no one can role-play another race, but white people taking on other races need to realize it’s a weird exercise in privilege and need to try to prioritize character over racial stereotypes.
Finally, the panel addressed how geek communities, especially online, can exclude women and people of colour. The panelists said they felt like when they or others raised objections to sexist or racist language or behaviour guys would rally to defend the sexist and racist games, attempting to make the argument that somehow criticizing the language or behaviour was against their geek allegiance.
But the panelists had tips for audience members looking to deal with these types of situations effectively.
Christina recommended using your audience’s vernacular to raise the issue to show you’re part of their community. She also recommended making it clear it’s not a personal attack on a player: “Make it clear you are hating the game and not the player. And understand no one has read Judith Butler as nursery rhymes. There’s a learning process.”
On the other side, the panelists also had some advice for those getting critiques:
“The person on the other side, just f-ing listen,” said Michelle.
“We critique because we enjoy these things. The people who complain the hardest care the most,” said Regina, emphasizing that critiquing something doesn’t mean hating on it.
Jarrah Hodge is the founder of Gender Focus, a Canadian feminist blog. Jarrah also writes for Vancouver Observer and Huffington Post Canada and has been a guest blogger on “feminerd” culture for Bitch Magazine Blogs. Hailing from New Westminster, BC, she’s a fan of politics, crafts, boardgames, musical theatre, and brunch.

 

3 Women Share 2011 Nobel Peace Prize

Leymah Gbowee, Ellen Johnson Sirleaf, and Tawakkul Karman share the 2011 Nobel Peace Prize

Some happy news came last week when three women were awarded the 2011 Nobel Peace Prize for their “non-violent struggle for the safety of women and for women’s rights to full participation in peace-building work.”
Leymah Gbowee has campaigned against rape and for women’s rights in Liberia, and serves as the director of Women Peace and Security Network Africa. According to the Nobel committee, Gbowee “mobilized and organized women across ethnic and religious dividing lines to bring an end to the long war in Liberia, and to ensure women’s participation in elections. She has since worked to enhance the influence of women in West Africa during and after war.” She is featured in the documentary Pray the Devil Back to Hell (which is part of the PBS series Women, War, and Peace). In addition to the Nobel prize, Gbowee has been awarded the Blue Ribbon for Peace by Harvard’s Kennedy School of Government, the John F. Kennedy Profile in Courage Award®, the 2009 Gruber Women’s Rights Prize which honors an individual who has brought about significant advances in the quest for peace and gender equality in Africa, the John Jay Justice Award, the Livia Award from the Livia Foundation in Denmark, and the World Association of Girls Guide 1st Centenary Award, among others. 

To learn more about Leymah Gbowee and other Liberian women who came together to end a bloody civil war and bring peace to their shattered country, watch the film. Here’s the trailer:

Ellen Johnson Sirleaf is the President of Liberia, and is the first democratically-elected woman in Africa. The Nobel committee stated that “since her inauguration in 2006, she has contributed to securing peace in Liberia, to promoting economic and social development, and to strengthening the position of women.” Her award didn’t come without controversy, as seems usual for a sitting president (such as when Barack Obama was awarded the prize), and was seen by some as merely a political endorsement by the selection committee. Watch a TED Q&A with Sirleaf, in which she discusses women in leadership (which I’m unable to embed here), or an interview with Time:
Tawakkul Karman is the first Arab woman to win the Nobel Peace Prize, for her democracy activism in Yemen, and one of the youngest women to ever win the prize (at age 32). She heads the organization Women Journalists Without Chains (WJWC), which advocates for human rights and freedom of the press. The Nobel committee said of Karman, “In the most trying circumstances, both before and during the “Arab spring”, Tawakkul Karman has played a leading part in the struggle for women’s rights and for democracy and peace in Yemen.” This past April, Karman wrote an article, “Our Revolution’s Doing What Saleh Can’t–Uniting Yemen” for The Guardian, in which she says, 

After a week of protests I was detained by the security forces in the middle of the night. This was to become a defining moment in the Yemeni revolution: media outlets reported my detention and demonstrations erupted in most provinces of the country; they were organised by students, civil society activists and politicians. The pressure on the government was intense, and I was released after 36 hours in a women’s prison, where I was kept in chains. 

Here is a clip from Democracy Now, which discusses Karman’s activism in Yemen (the focus on Karman begins around the 2-minute mark):
I am thrilled to see these three women honored, and encourage you to learn more about their work (as I will as well).

Documentary Preview: ‘The Bro Code: How Contemporary Culture Creates Sexist Men’

The Bro Code: a new documentary from MEF
The Media Education Foundation recently announced their newest documentary, The Bro Code: How Contemporary Culture Creates Sexist Men. The MEF makes some very good documentaries aimed at educating people to become more media literate–which is one of the most important cultural issues of our time, in my opinion.
Men are not born devaluing women, or objectifying them, or loathing them to the point that the worst possible insult is to be called feminine. No, men (and women) learn these attitudes from a culture that constantly reinforces the supremacy of the male and closely polices masculinity (the recent “Man Up!” ads from Miller Lite come to mind, as do the less-recent calls from some female politicians that their male counterparts, again, “Man up!”).
Here’s the trailer:

TRAILER: The Bro Code: How Contemporary Culture Creates Sexist Men from Media Education Foundation on Vimeo.
I’m planning to watch The Bro Code (you can watch a free preview of the full-length film on MEF’s website) and check back in with my thoughts. Has anyone watched it yet? What do you think?

It’s Ada Lovelace Day!

portrait of Ada Lovelace

In honor of the day, I watched the only movie I could find about her (or featuring her): Conceiving Ada.
Before I talk about the movie, first some basic information on Ada Lovelace Day, founded to celebrate Augusta Ada Byron King, Countess of Lovelace (AKA Ada Lovelace).
Who is Ada Lovelace?
She is often called the “World’s First Computer Programmer,” although she lived nearly 100 years before the first computer was built. Here is an excerpt from the Wikipedia page about her:

In 1842 Charles Babbage was invited to give a seminar at the University of Turin about his analytical engine. Luigi Menabrea, a young Italian engineer, and future prime minister of Italy, wrote up Babbage’s lecture in French, and this transcript was subsequently published in the Bibliothèque Universelle de Genève in October 1842.

Babbage asked the Countess of Lovelace to translate Menabrea’s paper into English, subsequently requesting that she augment the notes she had added to the translation. Lady Lovelace spent most of a year doing this. These notes, which are more extensive than Menabrea’s paper, were then published in The Ladies’ Diary and Taylor’s Scientific Memoirs under the initialism “AAL”.

In 1953, over one hundred years after her death, Lady Lovelace’s notes on Babbage’s Analytical Engine were republished. The engine has now been recognised as an early model for a computer and Lady Lovelace’s notes as a description of a computer and software.[27]

Her notes were labelled alphabetically from A to G. In note G, the Countess describes an algorithm for the analytical engine to compute Bernoulli numbers. It is considered the first algorithm ever specifically tailored for implementation on a computer, and for this reason she is often cited in to be the first computer programmer.[28] However the engine was never actually constructed to completion during Lovelace’s lifetime.

The computer language Ada, created on behalf of the United States Department of Defense, was named after Lovelace. The reference manual for the language was approved on 10 December 1980, and the Department of Defense Military Standard for the language, “MIL-STD-1815”, was given the number of the year of her birth. Since 1998, the British Computer Society has awarded a medal in her name[29] and in 2008 initiated an annual competition for women students of computer science.[30]

Ada Lovelace Day has been founded to commemorate her historic place in computing history, and to celebrate women in mathematics, science, engineering, and technology. You can learn more about Ada Lovelace and the project Ada Lovelace Day at the website Finding Ada.

Now, on to the movie!

Conceiving Ada (1997)
I debated even watching Conceiving Ada last night after reading reviews, some of which included the words “ridiculous” and “loony.” But, I figure so many woman-centered, woman-directed, and woman-written movies encounter much harsher criticism (especially an overtly feminist movie such as this), and the movie deserved a chance. Plus, it stars Tilda Swinton, for whom I have a borderline-unhealthy obsession, and was written and directed by Lynn Hershman Leeson, whose most recent film was !Women Art Revolution (which I just mentioned in a post yesterday, oddly enough).
The basic premise of the movie is that a genius DNA researcher Emmy Coer is developing a computer program that will allow her to travel back in time (not physically–just through the computer) to meet and communicate with her muse, 19th century math whiz Ada Byron King. There are troubles along the way to reaching her goal, and consequences to making contact that I don’t entirely understand. And, for some reason, there’s a lot of sex. A lot. Even Victorian-era sex.
I’ll just put the criticisms I have out front, and then get into why the movie is ultimately worth watching. Some of the acting is cringe-worthy, particularly that of main character Emmy’s (Francesca Faridany) boyfriend, and her OB-GYN. There are real moments in the movie that deserve the MST3K treatment, and one can’t help but joke that the movie’s vision of time travel via computer seems a whole lot like watching a movie (until the women actually communicate with one another). I’ll even admit to a fleeting comparison to The Room at a particularly awkward moment.
That said, this isn’t one of those “it’s so bad don’t even bother” movies. It’s actually a really interesting one that explores the bonds that did–and do–define female sexuality (even if we do see some unnecessary nudity), in Lovelace’s time and today. It explores motherhood, and the ways that having children both can empower and inhibit women. Finally, it’s a look at women in the field of technological science, and how maybe not a lot has changed since the 19th century.
Of course, the technology portrayed in the movie seems primitive after about 15 years, and the ability to time travel online to talk with long-dead historical figures is a fantasy. The movie was very carefully filmed, and Leeson claims that “Every scene was structured and shot using a DNA image as a model for actors’ placement andcamera movement.” The movie itself sits firmly in the science fiction/fantasy genre, and if you accept this and focus on what the movie is actually trying to say about memory, women in technology, and DNA, I think you’ll find it quite fascinating and challenging. I did.
Watch the trailer:

Director Spotlight: Nicole Holofcener

When Megan Kearns reviewed the documentary !Women Art Revolution, she began her post with a challenge to readers: Name three artists. A simple request, and one she suspected would yield an answer consisting of three male artists. 
If challenged to name three directors, would responses be similar–three male directors? If you’re familiar with this site and others that focus on women and film (I’m thinking of you, Women and Hollywood), maybe not. But my guess is that a majority of the population would, because women represent a small minority of directors, and few have gained enough acclaim and/or fame to become household names.
The lack of recognition of women who direct movies is the impetus behind our Director Spotlight Series. We know there aren’t enough female directors (or cinematographers, or writers, or producers, etc.) out there, but we can shine a light on the ones who are working, with varying degrees of success, in Hollywood.

You can read previous Spotlights on Allison Anders, Kathryn Bigelow, Jane Campion, Sofia Coppola, Tanya Hamilton, and Agnes Varda, and a Quote of the Day on Dorothy Arzner.

On to today’s spotlight: Nicole Holofcener.
Director Nicole Holofcener
Nicole Holofcener has directed several films, along with numerous episodes of television shows. Her most recent project was directing an episode of Parks and Recreation (season three’s “Eagleton”) and the TV movie I Hate That I Love You. Other television work includes episodes of Six Feet Under, Bored to Death, Enlightened, Gilmore Girls, Leap of Faith, Sex and the City, and Cold Feet.

I’ve seen three of her films, and it’s fair to say that one of the major themes she’s interested in is how to be wealthy and privileged in a society that largely isn’t. One could lob this at her as a criticism–that she’s interested in rich white women–and it’s not untrue. However, I’ve always found her movies thoughtful and aware of privilege, rather than flaunting it unawares, and her characters flawed, complex, contradictory, and, ultimately, realistic. Women are always at the center of the story, and we all know how rarely that’s done, much less done well.

Holofcener has written and directed four feature films. Here they are.

Please Give (2010)

Please Give is Holofcener’s most recent film. It won the Robert Altman Award and was nominated for Best Screenply by the Independent Spirit Awards, and was nominated for a Writer’s Guild of America (WGA) Award. The film was distributed by Sony Pictures Classics. The movie  has an 88% fresh rating on Rotten Tomatoes (which, I know, isn’t the most objective or accurate system, but, still is worth noting).

I saw the movie when it was in theatres, and remember heated conversations about its characters and its ultimate meaning. Most of the discussions involved its ambivalent ending, and if you’ve seen it, I suspect you have strong feelings about that ending, too.

Here’s a bit of the synopsis, from the official website:

Kate (Catherine Keener) has a lot on her mind. There’s the ethics problem of buying furniture on the cheap at estate sales and marking it up at her trendy Manhattan store (and how much markup can she get away with?). There’s the materialism problem of not wanting her teenage daughter (Sarah Steele) to want the expensive things that Kate wants. There’s the marriage problem of sharing a partnership in parenting, business, and life with her husband Alex (Oliver Platt), but sensing doubt nibbling at the foundations. And there’s Kate’s free-floating 21st century malaise–the problem of how to live well and be a good person when poverty, homelessness, and sadness are always right outside the door.

Watch the trailer:

Friends with Money (2006)

This is the one Holofcener movie I haven’t seen. Starring Jennifer Aniston, Catherine Keener, and Frances McDormand, I’d say this movie has the most commercial appeal of her work, but not the highest ratings. Friends with Money won McDormand a Best Supporting Female Independent Spirit Award, and Holofcener an Independent Spirit Best Screenplay nomination. She also won the Dorothy Arzner Directors Award.

From the official website‘s synopsis:

FRIENDS WITH MONEY examines the shifting relationships between four women who have been friends all of their adult lives. Now as they settle into their early middle age, their friendship is increasingly challenged by the ever-growing disparity in their individual degrees of financial comfort. It is a poignant snapshot of the way we live today, where the safe divisions that class and money have created are eroding under the unstoppable force of everyday life and the result is a painfully hilarious examination of modern life that manages to be both brutally honest and ultimately uplifting.

Watch the trailer:

Lovely & Amazing (2001)

Lovely and Amazing is my favorite of Holofcener’s movies, though it’s been several years since I’ve seen it, and can’t provide many specific details other than a major focus in on the relationship between a mother and her daughters. It’s definitely worth renting.

The movie’s website is gone, but here’s the plot summary from IMDb:

The Marks family is a tightly-knit quartet of women. Jane is the affluent matriarch whose 3 daughters seem to have nothing in common except for a peculiar sort of idealism. Setting the tone of vanity and insecurity, Jane is undergoing cosmetic surgery to alter her figure, but serious complications put her health in real danger. Former homecoming queen Michelle, the eldest daughter, has one daughter of her own and an alienated, unsupportive husband. Elizabeth, the middle sister, has an acting career that is beginning to take off, but is timid and insecure, and habitually relieves her trepidation by taking in stray dogs. Only the youngest sister, Annie, an adopted African American 8-year-old, stands a chance of avoiding the family legacy of anxious self-absorption. If only her intelligence and curiosity will see her through what promises to be a confusing adolescence. Each of the women seeks redemption in her own haphazard way.

Watch the trailer:

Walking and Talking (1996)

I couldn’t find a trailer for Walking and Talking (if you find one somewhere, please let me know!), but it seems you can watch the whole thing on YouTube, if you’re so inclined. Better yet, rent it and watch with some friends. It’s a quiet movie, in that not a lot happens (as the title suggests), but it’s engaging and just good.

Here’s a synopsis, from Netflix, that doesn’t really do the movie justice:

Amelia (Catherine Keener) and Laura (Anne Heche) have been best friends since the sixth grade. For the first time, their lives are taking different paths: Laura is in love and planning her wedding, while Amelia begins to despair that she’ll ever find the right man. But as they try to adjust their childhood friendship to the challenges of adulthood, these friends continue to laugh together at life and love.

Who’s up for a Holofcener marathon?! Hey, come to think of it…

Preview: Miss Representation

Miss Representation (2011)
Back in February of this year, we were fortunate to attend the Athena Film Festival and see the documentary Miss Representation. Since then, the film has traveled to different festivals and been shown at numerous screenings around the country. If you haven’t been able to attend one of these showings, however, you have the opportunity to watch the film on the Oprah Winfrey Network (OWN), as part of the OWN Documentary Club, on Thursday, October 20th at 9 PM EST.

I love the tagline for this movie: “You can’t be what you can’t see.” That idea is very similar to the driving force for this site–the way women are represented in film, television, and media in general has a dramatic effect on how women are actually perceived in our culture. The (mis)representation of women directly contributes to the inequality of women and to violence against women. It’s no coincidence that in a culture where women are systematically devalued in media, we have abysmally low numbers of women in positions of power (women represent only 17% of Congress, making the U.S. “90th in the world in terms of women in the national legislature”).

Here are some stats from the movie worth considering:

  • At age 7, and equal number of boys and girls state that they want to be President of the United States. At age 15, this is no longer the case.
  • The 2010 mid-term election is the first time since 1979 that women haven’t made gains.
  • Women comprise only 16% of all writers, directors, producers, cinematographers, and editors.
  • Teenagers in the U.S. consume 10 hours and 45 minutes of media (television, Internet, music, movies, magazines) every day.
I can’t recommend Miss Representation highly enough. If you have cable (and get OWN), I encourage you to watch–and to watch with others, especially teenagers. Here’s an extended preview, for those of you not familiar with the movie.

Miss Representation 8 min. Trailer 8/23/11 from Miss Representation on Vimeo.
 
 
 

Ripley’s Pick: Meek’s Cutoff

Meek’s Cutoff (2010)
Meek’s Cutoff is the kind of quiet movie that doesn’t get a lot of attention–or box office dollars–but should.
Set in 1845 on the Oregon Trail (insert obligatory joke about the Oregon Trail computer game), three families make their way west with the help of Stephen Meek (Bruce Greenwood), but soon realize that his ‘shortcut’ has left them lost and quickly running out of water. When they encounter and capture a Native American man, they ultimately decide that he must know the land better, and they choose him to lead them, despite political differences they perceive as “natural” and a language barrier. Whether he will lead them to water or to destruction is the question.
When I say quiet, I mean it. More than seven minutes pass before a word is uttered, during which time we see the families cross a deep river, one of the women holding a bright little caged canary aloft, and one of the men scratch the word LOST into a fallen tree. No words need to be spoken to read the situation these settlers find themselves in, and when words are finally spoken, they come from a child reading from the Bible.
The poster above connects Meek’s Cutoff with another contemporary (although it is a remake) Western– True Grit. While the films share female characters as the ones with the real grit, I’m actually reminded more of There Will Be Blood, in terms of tone and subject (more on this later). I wrote about Meek’s Cutoff when it was opening in theatres, and said the following about Westerns:

The Western genre is traditionally tied up in all kinds of rugged masculinity, and of all film genres, maybe best exemplifies the dominant way the United States collectively imagines itself: sturdy, adventurous, self sufficient, brave, and, well, pretty butch. The problem is, however, that this narrative leaves out a significant number of people, and a significant portion of the story. The Western (and the story of the U.S. West) tries to be the story of the United States itself, and reveals ideology so clearly where it fails–namely, in its depiction of women, indigenous peoples, immigrants, and African-Americans. The genre is, in other words, ripe for retellings and allegory.

Rugged masculinity is not lauded in Meek’s Cutoff, but depicted as dangerous and violent. Meek is not trustworthy, and is not even the central character in this Western. The quiet power here lies in the women, who are often depicted working–collecting firewood, washing, walking alongside the wagons–and discussing their situation, relying less than the men on divine providence and the violent tales of vicious Indians from a rebel cowboy. Emily (Michelle Williams) is the boldest of the women, though Millie and Glory (who is very pregnant) show strength and critical thought about their situation. While ideas about race and gender roles fit squarely in the 19th century (the women don’t even ask to vote when the men are choosing their path, and are quick and easy with racial epithets), the critique of the American mythos rings clearly.
In her review of There Will Be Blood for this site, Lesley Jenike succinctly explains the dominance of white men in Serious, Important Films made in the U.S.:

If we consider some of our American cinematic “masterpieces,” we often find them absent vibrant female characters, for example (think The Godfather, Citizen Kane, and Chinatown to name just three). As much as I desperately want to see my gender portrayed with respect, honesty, and integrity, many films that deal with the great American mythos don’t have much room for female characters, simply because women haven’t been a part of, and are often still excluded from, the creation story we tell ourselves—a story of brutal boots-on-the-ground capitalism and, negatively speaking, punishing exploitation. It’s a Judeo-Christian story in which the individual male forges his path through the wilderness, an anti-hero who, despite his great wealth and power, can’t overcome his subsequent moral corruption. What’s important to recognize is that the marked absence of “the other” in these films is a comment on an institutionalized patriarchy that extends beyond our everyday interactions to the very heart of our cultural mythos. There Will Be Blood is yet another film that further cements a white male-dominated American story of origin.

Meek’s Cutoff, directed by Kelly Reichardt (Old Joy, Wendy & Lucy), explores the great American mythos without telling a story centered on a male protagonist. Families that went west were just that–families, consisting of men, women, and children. It’s possible to comment on institutionalized patriarchy and the American story of origin without entirely excluding women or revising history to make it less ugly, less cruel, or more inclusive. Women are part of the story, and maybe it takes more women to step up and tell the stories, lest we be excised completely.
There is much to say about this film, which is visually gorgeous and tense enough to keep you on the edge of your seat, but rather than go into intricate analyses of the imagery and possible political interpretations, I’m going to just recommend you rent (or buy) the film and do your own analysis.
Have you seen Meek’s Cutoff? If so, what did you think?
 
 

Beware ‘The Ides of March’

How many times will that title be used when discussing The Ides of March? I couldn’t resist.
Directed by George Clooney and opening this weekend, Ides is a political thriller centered on a presidential candidate’s press secretary. And SCANDAL.
This is the kind of movie that gets Oscar buzz. What kind of movie? Clooney-directed political statement? Story about power and political corruptions? Sure, maybe. There’s precedent for that. White-male directed movie about powerful white men, and politics, with a dash of sexy lady and serious lady? Definitely.
Watch for yourself:

Now, as I haven’t seen The Ides of March, or read much about it yet, I could be totally wrong. Marisa Tomei as Black Glasses Serious Reporter could be the center of the film, the only person in Ohio (or the national press) with enough smarts and courage to investigate the SCANDAL. The movie could completely center around her work to uncover and expose the SCANDAL (although she gets one or possibly two lines in the trailer). My snarky “sexy lady” comment could also be completely off base; Evan Rachel Wood’s character in the trailer might claim to not be able to tie a tie, and might joke about being a “lowly intern” just to cover up her power. Right? RIGHT?!
You might scoff at my annoyance specifically with this movie, because politics in the United States is dominated by white men, and women don’t have much power in the political game, so in that sense, the movie is “realistic.” But you can’t look at this movie (or any movie) in isolation. Judging from the trailer, Ides follows a well-established pattern for Serious Movies That Become Oscar-Nominated Films (see our reviews of Oscar-nominated movies from 2008, 2009, 2010, and 2011 for some examples), or, Important Movies About Important Things (read: not things that particularly involve women).

Instead of seeing Ides of March this weekend, I want to watch a political thriller in which women take center stage. Give me some ideas.