Women Directors Week: The Roundup

Check out all of the posts from our Women Directors Theme Week here.

Women Directors Week The Roundup

Women with a Camera: How Women Directors Can Change the Cinematic Landscape by Emanuela Betti

What I saw… was the problem women have faced for centuries: the popularity of woman as art subject, not as creator. What critics and award judges seem to love are not so much women’s stories, but women’s stories told by men. Stories in which women’s agency is strictly and safely in the hands of a male auteurs. … We need more women filmmakers — not as a way to fill quotas, but because women’s stories are different, unique, and need to be told.


Why Eve’s Bayou Is a Great American Art Film by Amirah Mercer

The story of a family burdened by salacious and supernatural secrets in 1962 Louisiana, the movie has become one of the finer American films in the Southern gothic tradition; but with a Black director and an all-Black cast, Eve’s Bayou has been unceremoniously booted from its deserving recognition as the fantastic, moody art film it is.


Leigh Janiak’s Honeymoon as Feminist Horror by Dawn Keetley

The film thus brilliantly puts the everyday (marriage) on a continuum with the horrifying (possession?), connecting the problem of Bea’s troubled self-expression and containment, now that she’s married, to the later seemingly supernatural plot. … Are the seemingly supernatural elements of the plot symbolic of Bea’s struggles with intimacy and the weighty expectations of married domestic life (sex, cooking, and reproduction)? Janiak’s expert writing and directing definitely leaves open this possible subtext of the film…


When Love Looks Like Me: How Gina Prince-Bythewood Brought Real Love to the Big Screen by Shannon Miller

Gina Prince-Bythewood’s choice to center these themes around a young Black couple shouldn’t feel as revolutionary as it does. But when you consider that “universal” is too often conflated with “white,” Love & Basketball feels like such a turning point in the romance genre. It was certainly a turning point for me because, for a moment, Black love and romance, as told by Hollywood, weren’t mutually exclusive.


Sofia Coppola as Auteur: Historical Femininity and Agency in Marie Antoinette by Marlana Eck

Sofia Coppola’s film conveys, to me, a range of feminist concerns through history. Concerns of how much agency, even in a culture of affluence, women can wield given that so much of women’s lives are dictated by the structures of patriarchy.


The Gender Trap and Women Directors by Jenna Ricker

But, when was the last time ANYONE sat down to write a story, or direct a project and asked themselves — Is this story masculine or feminine? Exactly none, I suspect. … Storytellers tell stories, audiences engage, the formula is quite simple. But, it only works one way — male filmmakers are able to make any film they want without biased-loaded gender questions, whereas women filmmakers always face more scrutiny and criticism.


Individuality in Lucia Puenzo’s XXY, The Fish Child, and The German Doctor by Sara Century

In the end, it is this focus on individuality that is the most striking common theme of Lucia Puenzo’s works. Each of her characters undergoes intense scrutiny from outside forces, be it Alex in ‘XXY’ for their gender, Lala in ‘The Fish Child’ for her infatuation with Ailin, or Lilith from ‘The German Doctor,’ who is quite literally forced into a physical transformation by a Nazi.


Andrea Arnold: A Voice for the Working Class Women of Britain by Sophie Hall

British director/screenwriter Andrea Arnold has three short films and three feature films under her belt, and four out of six of those center on working class people. … [The characters in Fish Tank, WaspRed Road, and Wuthering Heights] venture off away from the preconceived notions they have been given, away from the stereotypes forced upon them, and the boxes society has trapped them in.


Susanne Bier’s Living, Breathing Body of Work by Sonia Lupher

Women consistently make good films around the world, even if we have to look outside Hollywood to find them. Susanne Bier is one powerful example. Her vivid, probing explorations into family dynamics and tenuous relationships are fiercely suggestive marks of a female auteur that deserves recognition.


No Apologies: The Ambition of Gillian Armstrong and My Brilliant Career by Rebecca Hirsch Garcia

However, Armstrong also doesn’t mock Sybylla’s ambition or treat it as a joke. In Armstrong’s world, the fact that Sybylla has desires and wants outside of marriage and men is treated seriously because Sybylla takes it seriously. She never needs to prove herself worthy enough for her desires. … [She is] a woman who bravely acts according to her own desires, someone willing to risk everything in order to have what she wants and who recognizes that men and romance are not the sum total of her world.


OMG a Vagina: The Struggle for Artistic The Struggle for Feminine Artistic Integrity in Kimberly Peirce’s Carrie by Horrorella

Carrie is a terrifying and compelling story, but there is certainly something to be gained and perhaps a certain truth to be found in watching the pain of her journey into womanhood as told by a woman director. … But even in the face of these small victories, we have to wonder how the film would have been different had Peirce been allowed to tell this story without being inhibited by the fear and discomfort of the male voices around her.


Kathryn Bigelow’s Near Dark: Busting Stereotypes and Drawing Blood by Lee Jutton

Both brutally violent and shockingly sexy, Near Dark’s influence can be felt nearly thirty years later on a new crop of unusual vampire dramas that simultaneously embrace and reject the conventions of the genre. … Yet among all these films about outsiders, Near Dark will always have a special place in my heart for being the one to show me that as a filmmaker, I was not alone in the world after all.


Fangirls, It’s Time to #AskForMore by Alyssa Franke

In the battle to address the staggering gender gap in women directing for film and television, there is one huge untapped resource — the passion and organizing power of fangirls.


Euzhan Palcy’s A Dry White Season: Black Lives in a White Season by Shara D. Taylor

It is doubtful that anyone else could have made A Dry White Season as poignantly relevant as Euzhan Palcy did. Her eye for the upending effects of apartheid on Black families brings their grievances to bear. … The meaning behind Palcy’s work resounds clearly: Black lives matter in 1976 South Africa as they do in 2016 America.


Why Desperately Seeking Susan Is One of My Favorite Films by Alex Kittle

The character was created to be an icon, a model for Roberta and other women like her, an image to hold in our heads of what life could be like if we just unleashed our inner pop star. But she’s also real enough that it feels like you might spot her in a hip nightclub, dancing uninhibited and having more fun than anyone else there just because she’s being herself.


Movie You Need to Be Talking About: Advantageous by Candice Frederick

Directed and co-written by Jennifer Phang, Advantageous is a surprisingly touching and purposeful film that revitalizes certain elements of the sci-fi genre while presenting two powerful voices in women filmmakers: Jennifer Phang and Jacqueline Kim.


Concussion: When Queer Marriage in the Suburbs Isn’t Enough by Ren Jender

The queer women we see in sexual situations in Concussion are not cut from the same Playboy-ready cloth as the two women in Blue is the Warmest Color: one client is fat, another is an obvious real-life survivor of breast cancer and some of her clients, like Eleanor herself, are nowhere near their 20s anymore.


I’m a Lilly – And You’re Probably One Too: All Women Face Gender Discrimination by Rachel Feldman

Another obstacle to getting Ledbetter made is the industry’s perception of my value as the film’s director. There are certainly a handful of women directors whose identities are well known, but generally, even colleagues in our industry, when asked, can only name a handful of female directors. Of course, there are thousands of amazingly talented women directing; in fact there are 1,350 experienced women directors in our Guild, but for the vast majority of us our credits are devalued and we struggle to be seen and heard – just like Lilly.


Making a Murderer, Fantastic Lies, and the Uneasy Exculpation Narratives by Women Directors by Eva Phillips

What is most remarkable and perhaps most subversively compelling about both ‘Making a Murderer’ and ‘Fantastic Lies,’ and about the intentions and directorial choices of their respective creators, is that neither documentary endeavor chronicles the sagas of particularly defensible — or even, to some, at all likable — men.


Lena Dunham and the Creator’s “Less-Than-Perfect” Body On-Screen by Sarah Halle Corey

Every time someone calls to question the fact that Lena Dunham parades her rolls of fat in front of her audience, we need to examine why they’re questioning it. Is it because they’re wondering how it serves the narrative of ‘Girls’? Or is it because they’re balking at “less-than-perfection” (according to normative societal conventions) in the female form?


Female Becomingness Through Maya Deren’s Lens in Meshes of the Afternoon by Allie Gemmill

Her most famous work, Meshes of the Afternoon becomes, in this way, a reading of a woman working with and against herself through splitting into multiple iterations of herself. Most importantly, the film unpacks the notion that not only is the dream-landscape of a woman complex, it is bound tightly to her, defining who she is and guiding her constantly through the world like a compass.


Kelly Reichardt’s Wendy and Lucy: Heartbreak in a Panning Shot by ThoughtPusher

Through the course of the film, Kelly Reichardt’s pacing is so deliberate that even the most ordinary moments seem intensely significant. Reichardt’s framing traps Wendy in shots as much as her broken-down car and lack of money trap her in the town.


Sofia Coppola and The Silent Woman by Paulette Reynolds

Many films touch upon the theme of female isolation, but I remain fascinated with Sofia Coppola’s three major cinematic creations that explore the world of The Silent Woman: The Virgin Suicides, Lost in Translation, and Marie Antoinette (2006). Each film delves into this enigma, forming a multifaceted frame of reference for a shared understanding.


The Anti-Celebrity Cinema of Mary Harron: I Shot Andy Warhol, The Notorious Bettie Page, and The Anna Nicole Story by Elizabeth Kiy

I’ve always thought Mary Harron’s work was the perfect example of why we need female directors. I think the films she produces provide a perspective we would never see in a world unilaterally controlled by male filmmakers. Harron appears to specialize in off-beat character studies of the types of people a male director may not gravitate towards, nor treat with appropriate gravitas. She treats us to humanizing takes on sex workers and sex symbols, angry lesbians and radical feminism and makes them hard to turn away from.


How Women Directors Turn Narrative on Its Head by Laura Power

Marielle Heller (The Diary of a Teenage Girl), Miranda July (Me and You and Everyone We Know), and the women directors of Jane the Virgin are infusing elements of whimsy into their work in strikingly different ways, but to similar effect. The styles they’re using affect the audience’s relationship with their stories and with the characters themselves by giving the viewer an insight that traditional narratives don’t provide.


Wadjda: Empowering Voices and Challenging Patriarchy by Sarah Mason

Haifaa al-Mansour casts an eye onto the complexity of navigating an autocratic patriarchal society in Wadjda. This bold voice from Saudi Arabia continues to empower voices globally.


Mary Harron’s American Psycho: Rogue Feminism by Dr. Stefan Sereda

American Psycho fails the Bechdel Test. … The script, co-written by Guinevere Turner and Mary Harron, eschews any appeal to women’s empowerment. … When the leading man isn’t laughing at remarks from serial killers about decapitating girls, he’s coming after sex workers with chainsaws (at least in his head). Yet American Psycho espouses a feminist perspective that fillets the values held by capitalist men.


21 Short Films by Women Directors by Film School Shorts

For Women’s History Month, we’ve put together a playlist of 21 of those films for your viewing pleasure. As you’ll see, no two of these shorts are alike. They deal with topics like autism, racism, sexism, losing a loved one and trying to fit in and find yourself at any age.


Evolution in Marjane Satrapi’s Persepolis and Chicken With Plums by Colleen Clemens

In a similar way to Marji (Persepolis), Nasser (Chicken with Plums) must be sent far away to have his journey of becoming. There is something in him — talent — that requires he must go beyond his home. But whereas in Marji’s case she must go away to protect herself, Nasser must go away so he can grow, get bigger and fuller and richer.


Vintage Viewing: Alice Guy-Blaché, Gender-Bending Pioneer by Brigit McCone

When was the last time we watched vintage female-authored films and discussed their art or meaning? Bitch Flicks presents Vintage Viewing — a monthly feature for viewing and discussing the films of cinema’s female pioneers. Where better to start than history’s first film director, Alice Guy-Blaché?


How Women Directors Turn Narrative on Its Head

Marielle Heller (‘The Diary of a Teenage Girl’), Miranda July (‘Me and You and Everyone We Know’), and the women directors of ‘Jane the Virgin’ are infusing elements of whimsy into their work in strikingly different ways, but to similar effect. The styles they’re using affect the audience’s relationship with their stories and with the characters themselves by giving the viewer an insight that traditional narratives don’t provide.

Diary of a Teenage Girl 2

This guest post written by Laura Power appears as part of our theme week on Women Directors.


Marielle Heller, Miranda July, and the women directors of Jane the Virgin are infusing elements of whimsy into their work in strikingly different ways, but to similar effect. The styles they’re using affect the audience’s relationship with their stories and with the characters themselves by giving the viewer an insight that traditional narratives don’t provide.

Marielle Heller’s film, The Diary of a Teenage Girl (based on Phoebe Gloeckner’s hybrid graphic novel of the same name) depicts a coming-of-age narrative — a narrative that film audiences have seen hundreds, if not thousands, of times — in such a way that turns the genre into something fresh and spectacular. Our teenage hero is budding comic artist Minnie Goetze (English actor Bel Powley), who lives in San Francisco with her sister Gretel and her single, swinging mother (played by Kristen Wiig). Heller opens the film with a low angle shot of Minnie’s behind as she walks through a park and her voice-over narration reveals: “I had sex today: Holy Shit.”

Minnie’s narration certainly gives us a glimpse into her mind, her feelings, and her emotions. Heller uses this trope to good effect and doesn’t overdo it. But it’s not the voice-over that shows us our true Minnie. It is Heller’s use of animation that allows the audience insight into Minnie’s mind, because we see things come alive in the instant she feels them. Heller uses Sara Gunnarsdóttir’s original artwork and animation to let us “see” Minnie’s thoughts and feelings. Gunnarsdóttir’s work is certainly inspired by Gloeckner’s early original drawings, and some of those drawings appear in the film itself (Gloeckner was a consultant on the art and animation).

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The art itself is excellent, but the way Heller uses it is the real magic. Minnie is a girl whose imagination makes the static things around her come alive — the drawings on her wall and in her diary, the stars painted on her bedroom walls and ceiling, the cover of Aline Kominsky’s comic. It’s an effective and creative narrative tool to develop Minnie’s character. But Minnie doesn’t just animate things she already sees; she also creates objects out of her feelings. Hearts appear in the bathtub as she thinks about Monroe (her mother’s boyfriend with whom she has an affair) and, later, flowers bloom out of the receiver as she talks to him on the phone; feathers cover her hands and body and give her wings as she feels empowered on an acid trip; fireworks light up the sky when Minnie and Tabatha kiss for the first time. These are beautiful, sweet, and romantic additions that emphasize what we already sense Minnie is feeling.

But Heller is smart to not let the animation just be sweet; she also uses it to bring us down to understand Minnie’s lowest points. When Minnie feels rejected after Ricky calls her “intense,” we see her self-portrait animated as a giant holding the tiny boy between her thick fingers and then tossing him down to the ground; when Minnie hears Tabatha and Mike talking, she imagines them as black and white grotesque heads and bodies pressing in on her claustrophobically as she realizes she is not just in the apartment to eat a grilled cheese sandwich. The animations make Minnie round, full, and a character whose emotions we, the audience, can truly know, and a girl whose story we can truly feel.

The women directors of television’s Jane the Virgin also use expected and unexpected devices to infuse whimsy. Max Thornton, writing about the series soon after it premiered in 2014, said that it has a “jocular self-awareness,” and this is absolutely true. But that silliness and breaking of the fourth wall is not only done to make us laugh, but also to tell a story in a way unlike any other.

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The show uses an omniscient narrator (voiced by Anthony Mendez) and text that appears across the frame as though it is being typed immediately (complete with clicking keyboard sounds) to give backstory, explain character motivations, and stand in for what we, the audience, might be thinking. It allows us to know so much more than the characters know at any given time, but also to know just what Jane (Gina Rodriguez) is thinking and feeling. We are intimately connected to Jane, her feelings, and her story.

To date, there are thirty-eight episodes, or “chapters” of Jane the Virgin, each one using a combination of stylistic devices that include the aforementioned voice-over and text as well as dream sequences, imagination sequences, and animation. Although not every episode is directed by a woman, almost 60% are, and all episodes include a writing credit for show creator Jennie Snyder Urman. The second episode, directed by Uta Briesewitz, and the thirty-seventh episode, directed by Melanie Mayron, provide a good framework to look at how the show uses unconventional narrative devices to tell a great story with a specific and consistent style.

Jane the Virgin

Whereas the pilot, directed by Brad Silberling, sets up the excellent premise, world, and characters of Jane the Virgin, it’s not until the second episode, “Chapter Two,” directed by Uta Briesewitz, that the women of the show (including Briesewitz herself) really start to fly their true colors. This episode brings up issues of family, class, marriage, and sacrifice — both the male expectation of a woman’s sacrifice as well as the reality of a woman’s sacrifice. These themes are introduced and navigated using flashback, imagined scenes, and animation, as well as, of course, tropes from and conscious references to the telenovela genre.

Michael, Jane’s fiancé, is so focused on the fact that Jane once kissed Rafael, that he mishears Rafael as saying, “I used to make out with Jane a lot.” Playing with reality and fantasy this way, Briesewitz gets us into Michael’s head and reveals his insecurities in a way dialogue doesn’t always do. As Petra, Rafael’s wife, explains the moment she realizes he stopped loving her, a single, magical, animated teardrop falls from her face and onto the ground. We feel for her character and our sympathy is reinforced as the narrator reveals that (after two episodes of lying) she is finally being truthful. All of these whimsical pieces make up an episode that illustrates the true strength and sacrifice of the show’s women: Jane changing her entire life to make her best decision about the pregnancy and telling Michael, “I get to be selfish now, not you”; Xiomara (Xo), Jane’s mother, sacrificing herself during Jane’s quinceañera by doing some embarrassing song-and-dance karaoke in order to save Jane from seeing her date make out with another girl; Xo standing up to Rogelio when he pushes her in an effort to meet Jane for the first time.

A more recent episode, “Chapter Thirty-Seven” directed by Melanie Mayron (who also plays the part of Jane’s new graduate school advisor), employs Jane the Virgin’s tried and true stylistic techniques to cover sub-plots dealing with post-traumatic stress, new motherhood and infant bonding, a woman’s need to be validated by other people, and romance between sexagenarians. Our ever-present omniscient narrator gives us the low-down on what’s going on in our characters’ heads, as well as, possibly, in our own heads as we watch. But there is added whimsy through animation: hearts float from Rogelio’s chest when he hears that Jane and Michael are back together and engaged to be married (nearly identical animation to what Heller used in The Diary of a Teenage Girl); Mayron uses flashbacks to show simultaneous narratives as Michael rescues Rogelio from his stalker-kidnpapper (remember: telenovela!), and then uses animated arrows to point to elements in the frame that Michael sees; green check marks appear whenever a scene has passed the Bechdel Test, and red X’s appear whenever a scene has failed; and finally, in one of the most (or least?) subtle, Mayron the grad school advisor character is telling Jane that she needs a “frame” for her work, and Mayron the director cuts to a scene with a literal frame of a shot on Rogelio’s telenovela. This woman knows how to have fun. (And can we give this episode extra credit for mentioning the Bechdel Test in the first place [as well as for mentioning book clubs and Family Matters]?).

It feels appropriate to leave Miranda July for last, since she seems to exist in her own wonderful world. Her films are both stylistically consistent and unique, and she uses whimsy in her writing and her directing in a way that helps her, her characters, and her audience deal with big, dark ideas.

Me and You and Everyone We Know

Some might dismiss July as twee, but they would be making a huge mistake. July’s work is, perhaps, cute sometimes, at least on the surface. In her debut feature film, Me and You and Everyone We Know, July plays performance artist Christine Jesperson, who puts white ankle socks on her ears to get the attention of a shoe salesman named Richard (played by John Hawkes), and July has Richard’s six year-old son Robby catfishing a woman over instant messenger by telling her that he wants to “poop back and forth” with her, forever.

And those things are adorable, but July’s subject matter sure as hell is not. Me And You And Everyone We Know deals with connections and disconnections, with heartbreak and humiliation, with sex, with death. In the first five minutes of the film, Richard sets his own hand on fire in front of his two young sons. Soon later, a middle-aged man woos two teenage girls by posting hand-written signs in his living room window explaining the sexual things he’d like them to do to him, and to each other. And just as soon as Richard and Christine seem to have made an honest connection — a connection that is all Christine wants — Richard immediately turns on her, telling her that she doesn’t know anything about him: “I could be a killer of children,” he says, destroying their connection in a matter of seconds. July uses the sweetness, the innocence to offset the darkness of the film as well as make it an even more striking comment on humanity.

July’s second film, The Future, is even more stylistically interesting and uses techniques similar to Heller’s and the Jane the Virgin directors’ to tell a story about infidelity, depression, and death. And, strangely, it’s even cuter than Me And You And Everyone We Know. It’s narrated by a cat named Paw-Paw (voiced by July). Yes, you read that right: it’s narrated by a cat.

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The cat is the marble that starts the entire Rube Goldberg machine that is The Future. Sophie (Miranda July) and her boyfriend Jason (Hamish Linklater) decide to adopt the cat, but he is injured and cannot come home with them for a month. This gives the couple the push to use that month as though it’s their last month living life as they know it: they quit their jobs, Sophie disconnects the Internet to focus on making dance videos, and she begins a secret affair with a man she calls on the phone spontaneously in an effort to pull herself out of a kind of depression.

And Paw-Paw the cat does a voice-over narration as he watches the clock, waiting for Sophie and Jason to pick him up. July turns that particular storytelling device on its head, but she doesn’t stop there. She also creates a personified crawling T-shirt (Sophie’s security “blanket”) that inches closer and closer to her until she must finally put it on (leading to an interpretive dance in the middle of her lover’s master bedroom). July also includes a scene where Sophie must deal with her disconnection from her friends and her former life, and she does this by showing the friends pregnant, then with infants, then toddlers, then teens, and so on until the children stand before Sophie, grown adults with their own children. It is of course, all in Sophie’s head, but the startling absurdity of the scene jars the viewer into understanding how helpless she feels in this moment.

Just as with Me And You And Everyone We Know, The Future tells a story that has been told before: people splitting up and being unhappy and then happy, and unhappy, and then finally — hopefully — happy again. But July uses an unconventional whimsy to show us life’s sweetness, its hopefulness, and, sometimes, its tragedy.

This is what women — at least the women at the helms of these films and shows — are doing so well. They are playing with story, with expectations, and with the genre of narrative film itself. And the playing is not always for fun, and it is not even always successful. But it is always appreciated.


Laura Power teaches English composition and creative writing at a two-year college in Illinois. You can read more of her work at Cinefilles and Lake Projects and follow her on Twitter @chicagocommuter.

Bitch Flicks’ Weekly Picks

Check out what we’ve been reading this week – and let us know what you’ve been reading/writing in the comments!

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Report Finds Wide Diversity Gap Among 2014’s Top-Grossing Films by Manohla Dargis at The New York Times

Confronting Teen Sexuality in “The Diary of a Teenage Girl” by Andi Zeisler at Bitch Media

What to Watch This Weekend: 15 Short Films That Say #BlackLivesMatter by Tambay A. Obenson at Shadow and Act

11 Times Jon Stewart Threw Down For Feminism by Amanda Duberman at The Huffington Post

7 Feminist ‘The Daily Show’ Moments To Rewatch Over & Over, Because These Women Are Totally The Best News Team On Television by Maitri Mehta at Bustle

Over 15k Sign Petition to Boycott ‘Stonewall’ And Its White/Cis-washing of History by Sameer Rao at Colorlines

The Women of Color Heroes We Both Need and Deserve by LaToya Ferguson at Women and Hollywood

We Heart: Hannibal’s Stance on Sexual Assault by Carter Sherman at Ms. Blog

How Halt and Catch Fire is taking on sexism in the tech industry by Andy Meek at The Week

Julie Klausner Of Hulu’s ‘Difficult People’ Turns Unlikability Into An Art Form by Sara Benincasa at BUST

 

What have you been reading/writing this week? Tell us in the comments!

 

Sex, Drugs, and Developing Breasts: ‘The Diary of a Teenage Girl’ an Unforgettable Debut

The film is beautifully shot and highly stylized, allowing us a panoramic view of Minnie’s inner life through animated versions of her intense and thoughtful comic illustrations, drawn frame by frame. Still, ‘Diary’s best feature is its script. While the lessons Minnie learns are expected ones, they are important and the audience will be deeply pleased to see her arrive there. As Minnie reflects on her changing body, interests, and desires, it becomes easy to empathize with a character so familiar and yet so individual.


This is a guest post by Ariana DiValentino.


When it comes to budding sexuality, movies have frequently told us stories of the trials and experimentations (sometimes with baked goods) of high school boys who can’t hardly wait. Teen girl sexuality, however, gets far less screen time and even less nuance. This is why The Diary of a Teenage Girl, directed by first-timer Marielle Heller, stands out as an exciting rare gem.

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Bel Powley stars as the 15-year-old Minnie living in San Francisco in the 1970s, who is simultaneously naïve and precocious—both in her artistic and sexual endeavors. Minnie initiates an affair with her mother’s boyfriend, Monroe, played by Alexander Skarsgård, when, after he discloses an untimely physical reaction to some horseplay, she realizes for the first time that a man views her as a sexual being. Though Monroe is two decades her senior, the film manages to turn the Lolita trope on its head by avoiding illustrating Minnie as a deviant teen seductress or vilifying Monroe as a predatory monster. We are along for the ride, alternatingly understanding Minnie’s crush and desire for affection, and cringing at the blatant manipulation she is unknowingly subjected to.

Powley plays a hilariously and touchingly feisty, creative, and confused Minnie, whose bad behaviors are little mystery given the juvenile, wild-partying adults she is surrounded by. Alexander Skarsgård, while initially charming in Minnie’s eyes, portrays an excellent man-child who cannot grasp the impact of his actions on others. Kristen Wiig removes all doubt about her ability to play dramatic roles as Minnie’s loving but deeply flawed mother, Charlotte. Christopher Meloni makes a pleasant appearance as Charlotte’s ex-husband, and the closest thing Minnie has to a protective parental figure.

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The film is beautifully shot and highly stylized, allowing us a panoramic view of Minnie’s inner life through animated versions of her intense and thoughtful comic illustrations, drawn frame by frame. Still, Diary’s best feature is its script. While the lessons Minnie learns are expected ones, they are important and the audience will be deeply pleased to see her arrive there. As Minnie reflects on her changing body, interests, and desires, it becomes easy to empathize with a character so familiar and yet so individual. The film finds its humour in its truth, deriving laughs from lines like the dead-serious “I’ve had breasts for three full years now” and genuine, sometimes embarrassing scenes of intimacy.

Not easily categorized, The Diary of a Teenage Girl is a deeply dramatic coming-of-age story with moments of sharp, undeniable wit. Minnie navigates the San Francisco of 1976, sharing thoughts and making mistakes that even more recent survivors of adolescence will gleefully identify with. Marielle Heller has proven herself to be a writer-director to watch, utilizing specificity and a deep understanding of people across generations to create a beautiful and deeply human portrait of growing pains.

 


Ariana DiValentino is a lover and budding creator of all things film and feminism, based in New York. Catch her in action on Twitter @ArianaLee721.