Academy Awards 2015 Theme Week Roundup

Check out all of the posts for our Academy Awards 2015 Theme Week here.

Nightcrawler: Centering the White Fear Narrative by Lisa Bolekaja

Bloom is a lonely man who scrapes by on the underbelly of society. His white male privilege allows him to steal, beat up people, and sabotage competitors without fear of repercussions from the police. As the renowned comedian Paul Mooney would say, Bloom has “the complexion for the protection.”


Female Purity Is Some Bullshit: My Problem With Ida by Ren Jender

Religious devotion is a tricky quality to depict in any medium: so many of us have seen piety as hypocrisy both in film and in life that we’re prepared to laugh at or to dismiss deeply held religious beliefs onscreen. In work made for mostly secular audiences, filmmakers who want to show deeply religious characters have to answer the question: if piety isn’t a joke, what exactly is it?


Finding Vivian Maier: The Greatest Art Mystery of the 20th Century by Rachel Redfern

However, Vivian Maier–besides being an obvious genius–remains a mystery. Finding Vivian Maier follows the narrative mystery as we pursue the reclusive and eccentric Vivian (or her personas of Ms. Meier, Mayer, Meyer, Meyers, Maier) across the US and through the streets of the 1950s and 1960s, attempting to discover more of a woman who is still unknowable.


Sexism in Disney’s Into The Woods by Jackson Adler

It seems Disney is saying that The Baker’s Wife is a “fallen woman,” and that it is making a firm decision on how it wants the audience to interpret the affair that occurred. This is made more problematic by how the affair was shot and choreographed. In the film, Cinderella’s Prince pins The Baker’s Wife against a tree and kisses her. There is nowhere for her to escape, even if she wanted to.


A Wild Woman Alone by Ren Jender

The filmmakers (director Jean-Marc Vallée and screenwriter Nick Hornby) profess to be fans of Strayed’s work, but they were apparently so busy patting themselves on the back for not making  this story of a woman alone into some kind of boy-meets-girl rom-com that they forgot to include everything else that makes the book distinctive.


Does Hating Foxcatcher Mean I Hate Men? by Robin Hitchcock

Foxcatcher is very serious meditation on men and masculinities, male relationships, and the white male experience of the class system in America. And I am so fucking bored with those subjects, even when they aren’t presented with a deliberately slow pace, sterile tone, and distracting amounts of face putty.


Gone Girl: How to Create the Perfect Female Villain by Alize Emme

Kudos to the 20th Century Fox exec who decided to market Gone Girl (2014) as a great date movie. This is not a date movie. This is a horror story about the sensationalized pitfalls of a doomed marriage.


American Sniper: We Can Kill It for You Wholesale by Lisa Bolekaja

This cowboy motif is no accident, as it connects this film to the old John Ford Westerns and the nostalgia some folks feel about John Wayne flicks and the mythology of good white cowboys fighting off savage Indians who were keeping good white settlers from utilizing this “wilderness” that would become the U.S.A. Dehumanizing non-whites is the foundation for creating this nation. It’s the glue that holds apple pies and hot dogs together.


The Alchemy of Still Alice by Lisa Rosman

What works beyond a shadow of a doubt is Moore herself. For a long time now, she has demonstrated an uncanny range and power without ever subjecting us to a shred of vanity. Here, she outdoes herself, channeling Alice’s physical, mental, and emotional devolution with an alchemy that is as thrilling as it is harrowing. Her luminous features slacken, her cadences falter, her life force fades. Scenes with Stewart are especially heartbreaking.


Gone Girl: Scathing Gender Commentary While Reinforcing Rape and Domestic Violence Myths by Megan Kearns

I wish I could say that Gone Girl is a subversive feminist film exposing myriad gender biases and generating a much-needed dialogue on rape and domestic violence. Yet it reinforces dangerous myths rather than shattering them.


Big Hero 6: Woman Up by Andé Morgan

The female team members are often shown as being more capable then the males, both as combatants and as scientists. Gogo Tomago, and Honey Lemon, are two bright, young scientists who exhibit strength of mind, body, and will. During a training montage, Gogo uses the phrase “woman up” to encourage one of her teammates to do better. This was a great, subversive line because it flowed naturally from the character and the context, rather than seeming like a forced injection of faux-feminism.


Child-Eating Parents in Into the Woods and Every Children’s Story Ever by Katherine Murray

Your dad is an ogre or giant, your mom is a witch, and both of them want to kill you. Welcome to your fairy tale life.


Birdman Is Black Swan for Boys by Robin Hitchcock

Birdman bears striking similarities to Black Swan, both in the broad strokes—each follow their protagonist’s slipping grip on sanity in the days before a high pressure stage debut—and in a strange number of superficial details—hallucinations of menacing black winged creatures, “surprise” lesbian scenes, and ambiguous suicides at least partially showcased on stage.


Am I The Only Person Incredibly Bored With This Awards Season? by Robin Hitchcock

Only one of the Best Actress nominations is from one of the Best Picture nominees, whereas four of the five Best Actor nominations are for Best Picture-nominated films. As I wrote in 2013, this trend suggests that movies with significant roles for women aren’t considered as great or important by the Academy. This year, it is even worse: four of the five Best Actresses were in movies not nominated outside of the acting categories.


What We Talk About When We Talk About Suck by Katherine Murray

So, you just saw a terrible movie and you want to tell the world about it – not so fast. How we frame our discussions about sucky movies depends on who’s listening, and whether we’ve got common ground.


Selma Backlash: Is It a Gender Issue? by Lauren Byrd

So what can women do about these smear campaigns directed at films by women? Go see films directed by women, support these filmmakers any way you can, whether it’s by filling theaters or participating in social media campaigns. We may not be able to change Academy voters’ minds, but we can continue drawing attention to gender disparities and focus on the positive changes.


Doing The Extraordinary in Two Days, One Night by Ren Jender

Women in films are even less likely to engage in this kind of dispirited struggle. Instead an actress usually plays the wife, mother, or girlfriend whose job it is to be “strong” and rub the hero’s back while he battles against his own obstacles. She talks reassuringly to him whenever he doubts himself, the exact same way Sandra’s husband does with her here.


What’s Missing from the Gone Girl Debate? Privilege! by Natalie Wilson

Gone Girl has been called misogynist, an amalgamation of negative stereotypes of women, a text that perpetuates rape culture, and a narrative that fuels Men’s Rights Acivtists’ ugly depiction of the gender equality feminists are trying to achieve. Yet, what is missing from the discussion is a focus on privilege.


Two Days, One Night: Marion Cotillard’s Insight From the New York Film Festival by Paula Schwartz

Cotillard did triple duty at the New York Film Festival Sunday to promote Two Days, One Night, which had its U.S. premiere. (The film is Belgium’s submission for best foreign film.) At 1, in jeans and a casual but chic top, Cotillard participated in a Q&A for a standing-room crowd. At 3 she changed into Dior and walked across the street to Alice Tully Hall and joined the Dardenne Brothers as they introduced ‘Two Days, One Night’ to a sold out audience, and afterward participated in a Q&A.


Where Is the Female Version of Whiplash? by Katherine Murray

I’d really like to see more introspective films about the human experience where the humans experiencing things look like me.


Boyhood (Feat. Girlhood) by Robin Hitchcock

Let’s face it, Boyhood is a gimmick movie. Richard Linklater sporadically filmed it over a twelve-year period so we could see the child actors in it actually grow-up. If you loved Michael Apted’s Up series but wanted more fiction and less wait, Boyhood is for you. But if you just love coming-of-age dramas, I’m not sure I can recommend this one.


Selma Is Now by Nijla Mu’min

In so many ways, this film reflects the current moment, while also highlighting how things have and have not changed since the King family and their allies risked their lives to secure rights for all. Scenes in the film will jolt you into the present: watching Jimmie Lee Jackson’s mother grieve in 1965 for the son she will never see again made me immediately think of the family of Tamir Rice, the young black boy who was murdered by police officers this year for toting a toy gun in Ohio. ‘Selma’ is now.


The Theory of Everything: A “Great Man” From The First Wife’s Point of View by Ren Jender

Do great women exist? The film industry still hasn’t decided. We had Frida a dozen years ago and that bio-pic about Margaret Thatcher (like Frida, directed by a woman) from a few years back–which won Meryl Streep an Oscar, but tepid reviews along with a completely irredeemable main character kept me from seeing it. Usually the women in the “great man” films are great only by osmosis, because they married or otherwise provide emotional–and other–support to great men. The actresses who play these roles win Oscars too: they make the “supporting” category a literal one. The Theory of Everything, the new bio-pic about astrophysicist (and best-selling author) Stephen Hawking seemed like it might be different since it’s based on the book written by the great man’s first wife, Jane.


Selma Shows Why We Need More Black Women Filmmakers by Janell Hobson

DuVernay has said in interviews that when she inherited Paul Webb’s screenplay, she altered it to decenter its focus on President Lyndon B. Johnson (even though the controversy surrounding the film managed to once again re-center the story on white male power and its portrayal). Rather than criticize the director for shifting her gaze away from whiteness (or for getting certain historical details wrong), it may be more useful to consider the difference a woman behind the camera—and a Black woman in particular—brings to a motion picture.


The Imitation Game and Citizenfour: Secrets Then and Now by Ren Jender

Sometimes I wish the mainstream film industry would stop making movies about queers. The rare times that a queer person is allowed to be the main character in one of its movies, as in this one, he (almost always a “he”), like the rare main character of color is usually unrealistically isolated from the community he comes from, a trope fostered from before Stonewall to the ’90s to now: we are oh-so-tragic and oh-so-alone.


Richard Linklater and Ethan Hawke Praise Patricia Arquette’s Performance in Boyhood by Paula Schwartz

Arquette, who is terrific as Olivia, turns in a nuanced and complex performance that is vanity free. We watch her age perceptively and slowly as her character gains wisdom but still falters. In other words, she’s the kind of three-dimensional woman we rarely see in American films.


Captain Uhura Snub: The Politics of Ava DuVernay’s Oscar by Brigit McCone

It is appropriate, when celebrating the legacy of Martin Luther King Jr., to recall Dr. King’s words to Nichelle Nichols, as she considered quitting Star Trek in frustration at the limitations of her role: “You can’t leave!… For the first time on television, we are being seen as we should be seen every day. As intelligent, quality, beautiful people … who can go into space.” Dr. King’s words show that he clearly understood the value of a token image, as a symbol, a precedent and a possibility model for future progress.


The Boxtrolls: Better Than Its “Man in a Dress” Jokes by Ren Jender

In a nice contrast to many children’s films and books, the character at the start who goes against the mob is a girl, Lord Portley-Rind’s daughter, Winnie (voiced by Elle Fanning in a mid-Atlantic accent passing as British). Although Winnie, in her pink ruffled dress and blonde ringlets might look like other storybook heroines, her fits over never being believed or taken seriously by adults and her morbid fascination with the boxtrolls make her more like Daria than Alice in Wonderland. When she asks another character if boxtrolls ate his parents, she adds, “Did they let you, I mean, make you, watch?”


Colleen Attwood’s Costumes in Disney’s Into The Woods by Jackson Adler

Attwood’s designs are stunning, but they also highlight the discussions of gender roles and racial relationships in America.


The Academy’s White Noise: Silencing the Lions by Leigh Kolb

I said that I had hoped this year would be different. However, when the Academy announced its nominations, I was not surprised.


The Grand Budapest Hotel and Wes Anderson Fatigue by Robin Hitchcock

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.


The Internal Monologue of Wild: Lone Woman Walking, Lone Woman Writing by Elizabeth Kiy

In a film, as in real life, with no language to defend herself, the lone woman is a suspect. She gets stared at and scowled at and catcalled and often told that she’s making herself vulnerable, or taking unnecessary risks. In short, our culture says she’s asking for what she gets. A woman alone is unloved, uncared for and written off. In Wild, the film based on Strayed’s memoir of her months solo hiking the Pacific Crest Trail, she has several uncomfortable and frankly terrifying encounters.


Feminist Highlights and Fails at the 2015 Oscars by Megan Kearns

This year’s Oscars lacked racial diversity with all 20 acting nominees being white. The overwhelming whiteness of the Oscars, which hasn’t been this egregious in nominating people of color since 1998, spurred a Twitter boycott and the hashtag #OscarsSoWhite created by April Reign. In addition to racial diversity, once again the Oscars lacked gender diversity. No women were nominated for director, screenplay (adapted or original), original score or cinematography. The snub of Ava DuVernay especially stung.


Moments of Sincerity in Otherwise Endless Oscars by Josh Ralske

What stood out were what seemed like genuine heartfelt moments. John Legend and Common delivered a spirited performance of “Glory” from snubbed director Ava DuVernay’s Selma, and an equally impassioned acceptance speech when they won, notable for its intersectionality. They brought up Hong Kong’s fight for democracy, Charlie Hebdo, and America’s shameful prison-industrial complex. “Selma is now” is a message many need to hear, including their liberal Hollywood audience.

‘The Imitation Game’ and ‘Citizenfour’: Secrets Then and Now

Sometimes I wish the mainstream film industry would stop making movies about queers. The rare times that a queer person is allowed to be the main character in one of its movies, as in this one, he (almost always a “he”), like the rare main character of color is usually unrealistically isolated from the community he comes from, a trope fostered from before Stonewall to the ’90s to now: we are oh-so-tragic and oh-so-alone.

ImitationGameCover


This repost by Ren Jender appears as part of our theme week on the Academy Awards.


A stereotype in popular media about very smart people is that they must have some great deficiency in other areas of their lives–as if someone with extraordinary intelligence being able to make friends and get laid would be unfair to the rest of us. The only reason I can surmise for the positive reviews The Imitation Game, a highly fictionalized new film about gay, World War II codebreaker Alan Turing is that it confirms all the “normal” audience’s worst suspicions about “genius” and queer life, without offering any meaningful insight into either.

Sometimes I wish the mainstream film industry would stop making movies about queers. The rare times that a queer person is allowed to be the main character in one of its movies, as in this one, he (almost always a “he”), like the rare main character of color is usually unrealistically isolated from the community he comes from, a trope fostered from before Stonewall to the ’90s to now: we are oh-so-tragic and oh-so-alone. Because he has no peers to rely on, the main gay guy invariably confides in the straight guy (particularly ridiculous in The Imitation Game’s 1940s setting) just like in movies set in the Civil Rights-era South, Black people have all their deepest conversations–and bonds–with white people. When a film shows the rare group of people of color relying on each other, as in Selma, awards snub it and prominent white guys denounce it. When a film like the underrated Pride shows a group of queers working together, the blurb on the back of the DVD makes sure it doesn’t offend any “Christian values” by mentioning something as crass as LGBT identity.

“Homosexuals”–as they were known then–could be arrested during the time the film takes place (as Turing was after the war, one of the few parts of the film that isn’t doctored) and imprisoned both in England and elsewhere, but that didn’t stop them from existing or having sex with each other–and straight people knew them even if they didn’t acknowledge that they did. World War II was a vehicle for many queers from the US (and probably those in the UK too) to find each other, no longer isolated in their small hometowns. But even before the war, academia (where Turing came from) was, notoriously, also a refuge for gay men. The arts were another. Accounts from those who knew him say that Turing was quite open about his sexuality (instead of the anguished confessions we see here): and then, as now, straight people (and I’m presuming most of the people interviewed were straight) were always the last to know. Also unchanged in the intervening years: the rules for men in power or ones with powerful friends were different: actor John Gielgud was arrested in the same time period as Turing was for having sex with another man, but faced neither imprisonment nor the forced hormone treatment Turing accepted instead of a prison sentence.

Joan Clarke (Keira Knightley) and the guys
Joan Clarke (Keira Knightley) and the guys

 

All the most interesting twists of the story are the ones the film avoids. As part of the huge wartime operation at Bletchley Park Turing had helped win the war against the Nazis (in fact his team’s decryption might have been the deciding factor) but he couldn’t tell anyone about it–nor could anyone else. Some powerful people did write letters of support for him during his trial, but they couldn’t say precisely why they were writing them. If his work during the war hadn’t been secret the charges against him probably would never have come to trial–or been made in the first place.

Instead, what passes for drama in this film are pedestrian scenes that are the invention of screenwriter Graham Moore. Even though there’s no historical evidence of any such incident we get more than one sequence in which Turing’s supervisors attempt to destroy his work. “You will never understand the importance of what I’m creating here,” Benedict Cumberbatch, as Turing, cries in the first film performance I’ve seen that is best encapsulated by the phrase “the gnashing of teeth.”

These scenes might be a reflection of the vanity of its hack filmmakers (writer Moore along with director Morten Tyldum). “I’m afraid these men would only slow me down,” the film’s Turing says about the team of other codebreakers. Not only does this film leave out all the other people (including some Polish cryptologists who made a valuable prototype) who helped Turing get to the point where he could successfully design and run Bombe (not “Christopher”: the name Turing gives his codebreaking computer in the film– after his first love!) but in the film he’s also perpetually misunderstood and under-appreciated by others the same way white, male writer and director “auteurs” seem to often feel they and their own work are, even as they dismiss (and underpay) the many other people who make their films possible and enjoyable. Maybe this parallel is the reason for the spate of “great man” films and the awards they always seem to collect this time of year.

The lone woman with a decent-sized part in the film is Joan Clarke (played by Keira Knightley) Turing’s fellow cryptanalyst who becomes his friend and, for a time, is engaged to him. Unlike the ridiculous scene in the film when Turing breaks up with her, the real-life Clarke was reportedly “unfazed” when she found out her fiancé was queer, because in those days (as the film touches very briefly on) marriage was the only way for most young women to get away from the control of their parents.

And even though a big deal is made of Joan Clarke being one of the only woman cryptanalysts, like “Rosie The Riveter” stateside, 80 percent of Bletchley Park’s employees were women. The codebreakers were popularly known as “Dilly’s girls” after the (male) head of the operation, none of which is reflected in Game. Thanks for erasing the historical contributions of women again, mainstream film industry!

[youtube_sc url=”https://www.youtube.com/watch?v=S5CjKEFb-sM” iv_load_policy=”3″]

Another film about genius and secrets making the rounds of top ten lists and awards is Laura Poitras’s Citizenfour, the documentary about Edward Snowden, who acted as a whistleblower by releasing evidence of the US’s widespread and unconstitutional spying on its own citizens.

You’d never know from the many news accounts about Snowden that Poitras was the first person he made real contact with when he decided to go public. Poitras reads his first message aloud on the soundtrack, “Laura, at this stage I can offer nothing more than my word. I am a senior government employee in the intelligence community. I hope that you understand that contacting you is extremely high-risk.”

CitizenfourMain

The film makes clear, hilariously, that when Snowden first tried to get in touch with Glenn Greenwald, who is usually given the credit for bringing Snowden’s story to the rest of the world, Greenwald couldn’t learn to use the encryption Snowden (who knew how volatile this information was) insisted on, so Snowden moved on to Poitras (who was well-versed in encryption after the government had seized footage from her previous documentaries, including one about the Iraq war). After a time Snowden suggesting that she bring in Greenwald–when presumably she could instruct him what he needed to do to get his encryption skills up to snuff.

Citizenfour, I had to keep reminding myself, shows us history in the making. We meet Snowden before his first media interview. We see him in the hotel room in Hong Kong where he was first holed up when the story broke. I had to keep telling myself what I was seeing was important because most of it is otherwise pretty dull.

Filmmaker Laura Poitras
Filmmaker Laura Poitras

 

We never find out much about Snowden beyond what we’ve seen in other media. He is a man who is preternaturally sure and calm about what he’s done, perhaps because, as an autodidact (he has a GED) at the top of a highly skilled field, he was able to think for himself on the implications of the work he was being asked to do.

We do see the travails of another whistleblower who went through more traditional channels and is still suffering blowback for it, to show us why Snowden released the info to the media directly. And we see Snowden upset at how the girlfriend he lived with and left behind in Hawaii is treated by the government in his absence. But as a friend remarked as we left the theater, “Watching Edward Snowden stare at his laptop isn’t very exciting.”

Although Snowden was sure he would be tried and imprisoned for his actions, saying in one of his preliminary messages to Poitras, “In the end if you publish the source material I will likely be immediately implicated,” he eventually saw that he could, with help, escape and chose to do so. But the scenes that should build up tension and our empathy for him (even those of us who admire his actions and sympathize with his plight) fall flat.

An exception is when we see Snowden’s face on video blown up to epic proportions in a main Hong Kong Square, just after his first big media interview, and then cut back to Snowden still in his hotel room, trying to change his appearance so he won’t be recognized (and abducted) on his way to the airport. Otherwise we don’t feel like we are in Snowden’s shoes in this film, even as we spend much of our time looking and listening to him. At the end we see Snowden has reunited with his girlfriend in Russia (where he has been trapped since the US government cancelled his passport–just before he could catch the second leg of his escape flight). We see them through a window, preparing dinner together, from a distance, an apt metaphor for how well we have come to know Snowden in this film ostensibly about him.

[youtube_sc url=”https://www.youtube.com/watch?v=XiGwAvd5mvM” iv_load_policy=”3″]

 


Ren Jender is a queer writer-performer/producer putting a film together. Her writing, besides appearing every week on Bitch Flicks, has also been published in The Toast, RH Reality Check, xoJane and the Feminist Wire. You can follow her on Twitter @renjender

‘The Imitation Game’ and ‘Citizenfour’: Secrets Then and Now

Sometimes I wish the mainstream film industry would stop making movies about queers. The rare times that a queer person is allowed to be the main character in one of its movies, as in this one, he (almost always a “he”), like the rare main character of color is usually unrealistically isolated from the community he comes from, a trope fostered from before Stonewall to the ’90s to now: we are oh-so-tragic and oh-so-alone.

ImitationGameCover

A stereotype in popular media about very smart people is that they must have some great deficiency in other areas of their lives–as if someone with extraordinary intelligence being able to make friends and get laid would be unfair to the rest of us. The only reason I can surmise for the positive reviews The Imitation Game, a highly fictionalized new film about gay, World War II codebreaker Alan Turing is that it confirms all the “normal” audience’s worst suspicions about “genius” and queer life, without offering any meaningful insight into either.

Sometimes I wish the mainstream film industry would stop making movies about queers. The rare times that a queer person is allowed to be the main character in one of its movies, as in this one, he (almost always a “he”), like the rare main character of color is usually unrealistically isolated from the community he comes from, a trope fostered from before Stonewall to the ’90s to now: we are oh-so-tragic and oh-so-alone. Because he has no peers to rely on, the main gay guy invariably confides in the straight guy (particularly ridiculous in The Imitation Game’s 1940s setting) just like in movies set in the Civil Rights-era South, Black people have all their deepest conversations–and bonds–with white people. When a film shows the rare group of people of color relying on each other, as in Selma, awards snub it and prominent white guys denounce it. When a film like the underrated Pride shows a group of queers working together, the blurb on the back of the DVD makes sure it doesn’t offend any “Christian values” by mentioning something as crass as LGBT identity.

“Homosexuals”–as they were known then–could be arrested during the time the film takes place (as Turing was after the war, one of the few parts of the film that isn’t doctored) and imprisoned both in England and elsewhere, but that didn’t stop them from existing or having sex with each other–and straight people knew them even if they didn’t acknowledge that they did. World War II was a vehicle for many queers from the US (and probably those in the UK too) to find each other, no longer isolated in their small hometowns. But even before the war, academia (where Turing came from) was, notoriously, also a refuge for gay men. The arts were another. Accounts from those who knew him say that Turing was quite open about his sexuality (instead of the anguished confessions we see here): and then, as now, straight people (and I’m presuming most of the people interviewed were straight) were always the last to know. Also unchanged in the intervening years: the rules for men in power or ones with powerful friends were different: actor John Gielgud was arrested in the same time period as Turing was for having sex with another man, but faced neither imprisonment nor the forced hormone treatment Turing accepted instead of a prison sentence.

Joan Clarke (Keira Knightley) and the guys
Joan Clarke (Keira Knightley) and the guys

All the most interesting twists of the story are the ones the film avoids. As part of the huge wartime operation at Bletchley Park Turing had helped win the war against the Nazis (in fact his team’s decryption might have been the deciding factor) but he couldn’t tell anyone about it–nor could anyone else. Some powerful people did write letters of support for him during his trial, but they couldn’t say precisely why they were writing them. If his work during the war hadn’t been secret the charges against him probably would never have come to trial–or been made in the first place.

Instead, what passes for drama in this film are pedestrian scenes that are the invention of screenwriter Graham Moore. Even though there’s no historical evidence of any such incident we get more than one sequence in which Turing’s supervisors attempt to destroy his work. “You will never understand the importance of what I’m creating here,” Benedict Cumberbatch, as Turing, cries in the first film performance I’ve seen that is best encapsulated by the phrase “the gnashing of teeth.”

These scenes might be a reflection of the vanity of its hack filmmakers (writer Moore along with director Morten Tyldum). “I’m afraid these men would only slow me down,” the film’s Turing says about the team of other codebreakers. Not only does this film leave out all the other people (including some Polish cryptologists who made a valuable prototype) who helped Turing get to the point where he could successfully design and run Bombe (not “Christopher”: the name Turing gives his codebreaking computer in the film– after his first love!) but in the film he’s also perpetually misunderstood and under-appreciated by others the same way white, male writer and director “auteurs” seem to often feel they and their own work are, even as they dismiss (and underpay) the many other people who make their films possible and enjoyable. Maybe this parallel is the reason for the spate of “great man” films and the awards they always seem to collect this time of year.

The lone woman with a decent-sized part in the film is Joan Clarke (played by Keira Knightley) Turing’s fellow cryptanalyst who becomes his friend and, for a time, is engaged to him. Unlike the ridiculous scene in the film when Turing breaks up with her, the real-life Clarke was reportedly “unfazed” when she found out her fiancé was queer, because in those days (as the film touches very briefly on) marriage was the only way for most young women to get away from the control of their parents.

And even though a big deal is made of Joan Clarke being one of the only woman cryptanalysts, like “Rosie The Riveter” stateside, 80 percent of Bletchley Park’s employees were women. The codebreakers were popularly known as “Dilly’s girls” after the (male) head of the operation, none of which is reflected in Game. Thanks for erasing the historical contributions of women again, mainstream film industry!

[youtube_sc url=”https://www.youtube.com/watch?v=S5CjKEFb-sM” iv_load_policy=”3″]

Another film about genius and secrets making the rounds of top ten lists and awards is Laura Poitras’s Citizenfour, the documentary about Edward Snowden, who acted as a whistleblower by releasing evidence of the US’s widespread and unconstitutional spying on its own citizens.

You’d never know from the many news accounts about Snowden that Poitras was the first person he made real contact with when he decided to go public. Poitras reads his first message aloud on the soundtrack, “Laura, at this stage I can offer nothing more than my word. I am a senior government employee in the intelligence community. I hope that you understand that contacting you is extremely high-risk.”

CitizenfourMain

The film makes clear, hilariously, that when Snowden first tried to get in touch with Glenn Greenwald, who is usually given the credit for bringing Snowden’s story to the rest of the world, Greenwald couldn’t learn to use the encryption Snowden (who knew how volatile this information was) insisted on, so Snowden moved on to Poitras (who was well-versed in encryption after the government had seized footage from her previous documentaries, including one about the Iraq war). After a time Snowden suggesting that she bring in Greenwald–when presumably she could instruct him what he needed to do to get his encryption skills up to snuff.

Citizenfour, I had to keep reminding myself, shows us history in the making. We meet Snowden before his first media interview. We see him in the hotel room in Hong Kong where he was first holed up when the story broke. I had to keep telling myself what I was seeing was important because most of it is otherwise pretty dull.

Laura Poitras
Filmmaker Laura Poitras

We never find out much about Snowden beyond what we’ve seen in other media. He is a man who is preternaturally sure and calm about what he’s done, perhaps because, as an autodidact (he has a GED) at the top of a highly skilled field, he was able to think for himself on the implications of the work he was being asked to do.

We do see the travails of another whistleblower who went through more traditional channels and is still suffering blowback for it, to show us why Snowden released the info to the media directly. And we see Snowden upset at how the girlfriend he lived with and left behind in Hawaii is treated by the government in his absence. But as a friend remarked as we left the theater, “Watching Edward Snowden stare at his laptop isn’t very exciting.”

Although Snowden was sure he would be tried and imprisoned for his actions, saying in one of his preliminary messages to Poitras, “In the end if you publish the source material I will likely be immediately implicated,” he eventually saw that he could, with help, escape and chose to do so. But the scenes that should build up tension and our empathy for him (even those of us who admire his actions and sympathize with his plight) fall flat.

An exception is when we see Snowden’s face on video blown up to epic proportions in a main Hong Kong Square, just after his first big media interview, and then cut back to Snowden still in his hotel room, trying to change his appearance so he won’t be recognized (and abducted) on his way to the airport. Otherwise we don’t feel like we are in Snowden’s shoes in this film, even as we spend much of our time looking and listening to him. At the end we see Snowden has reunited with his girlfriend in Russia (where he has been trapped since the US government cancelled his passport–just before he could catch the second leg of his escape flight). We see them through a window, preparing dinner together, from a distance, an apt metaphor for how well we have come to know Snowden in this film ostensibly about him.

[youtube_sc url=”https://www.youtube.com/watch?v=XiGwAvd5mvM” iv_load_policy=”3″]

________________________________________

Ren Jender is a queer writer-performer/producer putting a film together. Her writing, besides appearing every week on Bitch Flicks, has also been published in The Toast, RH Reality Check, xoJane and the Feminist Wire. You can follow her on Twitter @renjender