One of the films I have been eager to watch has been Sofia Coppola’s latest offering, On the Rocks. Starring Rashida Jones as novelist Laura who suspects her husband, Dean (Marlon Wayans) is having an affair. When Laura’s father, Felix (Bill Murray) comes to town, Laura finds her doubts grow until she isn’t sure what she believes anymore. In true Coppola style, the characters are part of a laid back high society not unfamiliar to what Coppola herself is probably accustomed to. Bringing Coppola back onto familiar ground after venturing into other genres in her previous projects, On the Rocks is a lighter offering from Coppola that explores the complexities of marriage and gender roles within the relationship. Distributed by A24 and released on Apple TV, On the Rocks sees Coppola fully embrace the power of streaming service releases as well as reunite with A24 after the release of 2013’s The Bling Ring.
As expected, Coppola both directs and provides the screenplay. Full of signature tropes commonly seen in her films, On the Rocks feels like a more mature offering. Laura is a grounded and settled protagonist, balancing life as a novelist and mother of two. Like many protagonists in Coppola’s films, Laura isn’t afraid to ask questions and isn’t willing to sweep things under the rug. The direction is more toned down to coincide with the topics and characters and yet feels true to Coppola’s style. Interweaving different forms of music with an impressive soundtrack, On the Rocks is the perfect film to showcase the struggles of the modern day woman. Even when shown from a privileged perspective, Coppola is brilliant at making films that can feel relatable for the female audience particularly.
Rashida Jones is perfect as Laura, especially during when she tries to reason with herself when Dean starts to spend a lot of time with his assistant. If this film was directed by any.other director, you could expect another cliche film where the woman is in hysterics and throwing water over her husband. Luckily, this film was made by Sofia Coppola who doesn’t feed into the gender stereotypes and Jones’ performance as Laura perfectly encapsulates how women are forced to adapt a grin and bear it exterior whilst acting as detective. Jones’ approach is subtle and toned as Laura is desperately trying to keep control of the situation and subsequently her life. As mentioned before, even though Laura has a privileged life, her aim to balance a successful work and home life is completely relatable, especially as the scenes in which her and Felix are scheming occur while her children are playing or at ballet class. When the different aspects of Laura’s life begin to be disrupted by her assumptions of Dean’s affair, she becomes manipulated and poisoned by Felix’s persuasions that she willingly follows his instructions without further thinking.
Bill Murray is impeccable as Felix, perfectly encompassing his toxicity and confidence. Felix isn’t necessarily a likeable character but his charisma is hard to ignore. Murray performs the hell out of this character and its hard not to smile as he whistles and worms his way out of tricky situations. On the surface, it seems that he just wants what is best for his daughter but you can’t help but question his motives. He is a man who is set in stereotyped ways, believing that men are not capable of emotion and dead set that Dean is cheating. He encourages Laura to pursue the situation and has Dean followed by a private investigator as well as buying him and Laura tickets to Mexico to follow Dean on his business trip. It could be argued that Felix is the emotional driving force behind Laura’s doubts despite his previous claims that men are detached.
Overall, On the Rocks marks a new direction for Sofia Coppola that shows her growth as a writer and director. Working with familiar and unfamiliar faces allows her to explore new terrain without feeling too uncomfortable. Her commentary on the modern woman is always an interesting take and using Laura as a scope into how the tiniest seed of doubt can grow beyond control makes for a film that is balanced between comedy and drama with small splashes of suspense as well. Contrasting scenes of Felix charming guests at the hotel in Mexico with his singing immediately followed by an emotional exchange in which he is forced to look back on the mistakes he has made and whether he regrets having an affair on Laura’s mother. Just as the title also suggests, Coppola doesn’t allow the audience to sit comfortably to reflect the rocky road the couple are on right now.
What did you think of On the Rocks? Let me know in the comments below!
Marielle Heller is one of the most exciting filmmakers working in the industry. Although she is not a household name in the mainstream yet, she has proven her talent and range in the three feature films she has directed so far. All three are adaptations of different mediums which also shows Heller’s skill as a writer. Starting with The Diary of a Teenage Girl in 2015 thrust Heller as an emerging writer/director thanks to its controversial and unflinching portrayal of its subject matter of underage sex. Following this, Heller made a dramatic star out of comedienne Melissa McCarthy in biopic Can You Ever Forgive Me? in 2018 followed by 2019’s A Beautiful Day in the Neighborhood which follows a journalist writing a piece on American icon, Mister Rogers. Her absence from major award nominations has been subject to controversy with stars such as fellow director Greta Gerwig and Natalie Portman using their platform to promote her work.
Here are my mini reviews and rankings for the films by Marielle Heller:
The Diary of a Teenage Girl (2015)
Heller’s debut is the perfect scene stealer opening up with 15 year old Minnie (Bel Powley) walking in the park with her confident voice over stating “I had sex today. Holy shit!” Heller’s script and direction follows Minnie from a distance allowing her life to play out with the complicated relationships she has with her mum, Charlotte (Kristen Wiig) and Charlotte’s boyfriend, Monroe (Alexander Skarsgård). Powley’s breakout performance is nothing short of perfection. She comes across as confident and all-knowing, even recording audio diaries. Based on a hybrid novel combining novel and graphic novel by Phoebe Gloeckner. Minnie winds up in a sexual relationship with Monroe and believes she is in love blind to the realities of the situation. As the affair goes on, Monroe is dismissive of Minnie’s satisfaction and is aware what he is doing is wrong. The film is a unique look into the sexual mistreatment of women and girls and how society expects them to act in order to satisfy the patriarchy. It is a film about personal and emotional growth with Minnie eventually learning to become independent and satisfied in herself and her talents as an artist. Despite her flaws and mistakes, she thrives above what society thinks of her and does what makes her happy.
Can You Ever Forgive Me? (2018)
Heller’s follow-up Can You Ever Forgive Me? is based on the 2008 memoir of the same name by writer Lee Israel. Following Israel (Melissa McCarthy) as she forges letters written by famous writers and sells them off to earn extra money, Can You Ever Forgive Me? is a film about the writer and artist desperation. At the beginning of the film, Israel is experiencing a career slump, unable to secure an advance for her book and is forced to sell her possessions to pay her bills. What starts from selling a personal letter from Katharine Hepburn spirals into forging letters from celebrities with scandalous details. Enlisting the help of her friend, Jack (Richard E. Grant), the two begin stealing letters from libraries and archives as well as forging other letters. McCarthy and Grant bring career best performances and earned them Oscar nominations for Best Actress in a Leading Role and Best Actor in a Supporting Role (Grant’s first and, to date, only Oscar nomination!).
A Beautiful Day in the Neighborhood (2019)
One of my favourite films from last year, this underrated gem stars Tom Hanks as American treasure, Mister Rogers and features Matthew Rhys as a skeptical reporter who is asigned to write on Rogers. I have written a longer review for A Beautiful Day in the Neighborhoodhere which you can read. Bringing Tom Hanks his first Oscar nomination in years, A Beautiful Day in the Neighborhood utilises wonderful puppetry in a film that is heartwarming with a deep message. Among a film landscape that is full of fear and dread, it’s nice to see a film about kindness and love being made.
Each film has its strengths and they are all so different which makes it difficult to rank them even though there are only three. Here is my ranking for Heller’s films:
1) The Diary of a Teenage Girl
2) A Beautiful Day in the Neighborhood
3) Can You Ever Forgive Me?
I really recommend giving each of these films a viewing at least once. Heller has a knack for drawing out brilliant and unexpected performances in films thay serve as flawless examinations of its characters.
Have you seen any Marielle Heller films? Which ones are your favourites? Let me know in the comments below!
Marielle Heller’s third feature A Beautiful Day in the Neighborhood is a poignant glance into the morals of Fred Rogers, known as Mister Rogers, an icon of American children’s television. The film follows Lloyd Vogel (Matthew Rhys), journalist who holds onto the darkness of his past which shapes his pessimistic outlook on life. When tasked with interviewing Mister Rogers (Tom Hanks) for a profile in Esquire magazine. A sharp contrast to her previous films The Diary of a Teenage Girl (2015) and Can You Ever Forgive Me? (2018), A Beautiful Day in the Neighborhood is a wonderful film that allows Heller to incorporate her realist storytelling with hints of art and quirkiness through the use of puppetry. The film marks Tom Hanks first Oscar nomination in 19 years (he was last nominated for Cast Away in the Best Leading Actor category) and features a welcome lead performance from Welsh actor Matthew Rhys who is more known for his TV work. A Beautiful Day in the Neighborhood is a quieter film than its award season competitors but its message on love and forgiveness speaks volumes. What Heller manages to do is bring the softness of Mister Rogers’ personality and apply this to Vogel’s life, creating a friction and discomfort to Vogel’s character.
During an award season that has seen female filmmakers snubbed in the directing categories, it seems that Heller has yet again been overlooked. When comparing Heller’s vision to some of the contenders in the Best Director category, I do think she is more deserving. Her film seems simultaneously grounded and innovative at the same time bringing an effortless flair. What Heller does so well is drawing out the best from both her lead and supporting actors (see Bel Powley and Kristen Wiig in The Diary of a Teenage Girl and Melissa McCarthy and Richard E. Grant in Can You Ever Forgive Me? as prime examples). I think that Heller has really come into her own and on her third feature, has managed to show us how varied her talent is and her fearlessness in tackling various genres and topics. Despite being overlooked, I think that Heller will continue to wow in her future projects and she’ll only receive more attention and acclaim.Performance-wise, the cast is really strong, particularly from Rhys and Hanks. Rhys brings out the protagonist’s inner conflict where the hurt that he feels is overshadowed by the anger. In fact, it seems that Vogel is more of an antagonist in the first act but as he lowers his guard, we begin to understand why he is how he is. It is ultimately a film about forgiveness and acceptance and no revelation is more important than the moment when Vogel accepts himself and his situation. The moment when he confronts his mum is heartbreaking and provides a bittersweet release for him as he allows himself to move forward with his life and enjoy the life that he has. I think that Rhys provides a side of his acting that we have not seen before and although Hanks is undoubtedly the highlight of the film, I think that Rhys will only get better from now on and has managed to successfully break into mainstream films.
In the supporting role, Hanks excels as Mister Rogers and was the big draw for critics and audiences alike and with good reason. From the moment he enters the screen, he is charismatic and gentle and truly becomes Mister Rogers. Admittedly after watching this, Hanks became my favourite for the Best Supporting Actor Oscar, although I completely appreciate that Brad Pitt was nothing short of phenomenal in Once Upon a Time in Hollywood. There was something about Hanks’ performance that harked back to the 90s when he was King of the Silver Screen that is a stark reminder that he is capable of truly captivating performances. I love Hanks in everything he does (I even compiled a top 10 which you can read here) and will admit that I find the Dan Brown adaptations entertaining but A Beautiful Day in the Neighborhood is among his best.
Another aspect of this film that I adored is the costume design. Simply and quintessentially American, Indian costume designer Arjun Bhasin does a brilliant job at encapsulating the late 90s style and mixing it with a nostalgic 70s feel when it comes to Mister Rogers. Particularly, the standout for the costume department is the iconic Mister Rogers cardigan. As an avid knitter, I was interested in reading about the conception and process of the knitting process for this film. Yasemin Esmek spent nine weeks making each cardigan and the results are amazing. The craftsmanship is so good and the details are beautiful. The costume designs overall are simple but it was important that they get the cardigan correct due to its association with Mister Rogers. I think that the costume team deserved award recognition for their work but it wasn’t to be and hopefully this only continues the interest in handmade knitted costumes in film. Much like the puppetry used for scene transitions, I love the craftsmanship and passion that was brought to the costumes and production design and feel that it is a shame that this wasn’t praised as much as other films were that were less creative. I wasn’t expecting to love A Beautiful Day in the Neighborhood as much as I did as I thought it was going to be run-off-the-mill Oscar bait but I left the cinema feeling a mix of emotions. It was funny, dramatic, heartbreaking and hopeful all rolled into one. Despite being set in the 90s and reminiscent and nostalgic for the 70s, A Beautiful Day in the Neighborhood feels fresh and seems to be a new kind of family film. It isn’t afraid of delving into dark topics while remaining appropriate and light at the same time. It stayed with me long after the credits rolled and is among my favourites of awards season. It is a shame that the film didn’t garner more than its single Oscar nomination because Heller’s direction and Nate Heller’s score are brilliant and deserved the recognition.
What did you think of A Beautiful Day in the Neighborhood? Let me know in comments below!
One film that has brought much buzz among the acting categories is the Fox News centred biopic Bombshell. Following numerous women working at Fox and their experiences of sexual harassment at the hands of their boss, Roger Ailes, the audience follow the lives of three women at different levels of their careers are observed. At the top of the game there is Megyn Kelly (Charlize Theron), then there is recently fired anchor, Gretchen Carlson (Nicole Kidman) and at the bottom of the tier is newcomer Kayla Pospisil (Margot Robbie) who is based on a culmination of women who worked at Fox. This was not a film I thought would be as gripping or exploitive as it was but this film contains some very upsetting material that shows the trauma that women are forced to endure in order to be successful. The event that acts as a catalyst is Kelly’s encounter with Presidential candidate Donald Trump who tweets various misogynist insults her way after a challenging exchange during the Presidential debate. We see Kelly’s world turned upside down as her and her family’s livelihood is at stake at the hands of a ruthless paparazzi and a passionately threatening audience. Simultaneously, Carlson is fired from her position and seeks to sue Ailes for sexual harassment which is described as a money grab from those at Fox. Overall, it is a film that shows the hardship of women and how dangers in the workplace seep into their personal lives. Directed by Jay Roach and written by Charles Randolph, Bombshell allows its female protagonists to develop and grow while showing their vulnerability and resilience in their quest to end the patriarchal harassment that has humiliated women at Fox over the years.
Charlize Theron is so brilliant as Kelly. In the same vein as Monster, Theron transforms into her subject and manages to perfect every detail about them. Completely deserving of the nominations that she has received, Theron’s Kelly is poised, collected and observant. She is a woman who will not be messed around. This makes the scene in which she opens up about her experience with Ailes shocking considering her strength and influence in the workplace. During the conflict with Trump, Kelly doesn’t make any vengeful comments back and instead is aware that Fox’s access to Trump during the Presidential campaign is crucial. She is able to put her own motivations to the side. It is when she puts herself first that a wave of women from Fox come out and discuss their experience. It’s no surprise that Theron has garnered her third Oscar nomination for her portrayal as this controversial figure. She has this command when she is on the screen and a strength that makes it even more shocking when comments about her menstruating are used as an excuse for her challenging nature. She is constantly given a harder time because she is a woman and not taken as seriously as her male counterparts. Equally, Kelly has respect for Ailes and when the accusations come to light, she faces a struggle between her genuine loyalty to him and the truth. In the end, she realises that she must go with the latter but this isn’t a decision that comes easy or without consequence.
In terms of our supporting protagonists, we are given Margot Robbie and Nicole Kidman as newcomer Kayla Pospisil and fired anchor Gretchen Carlson, respectively. Robbie is beyond outstanding in support and continues a stellar year. The scene in which her character is harassed and forced to show her crotch to Ailes is extremely upsetting and difficult to watch. We see Robbie’s brilliantly layered expression as she is clearly distraught and uncomfortable herself at having to do this but she knows she must grin and bear it for risk of being fired. Kayla is a fictional character but the development of her character and the depth that she is portrayed with feels very real. The idea to accumulate multiple women into one has served Randolph’s script well as it allows various perspectives to be shown without confusing or overloading the audience with too many characters. Robbie gained an Oscar nomination for her portrayal and it is so deserved. Time and time again, Robbie is showing us her range and has managed to compile a really impressive filmography following her departure from Australian soap opera Neighbours. Kayla is a character who shows a side of Robbie that we haven’t been able to see before and makes it all the more exciting to see what roles she will take on in the future.
On the other hand, Kidman is definitely underused but packs a punch when she is onscreen. I understand that with three prominent protagonists, it can be tricky to prioritise whose story to go more in depth on but it would be wrong to underestimate Gretchen’s important in this narrative. She is the initial driving force and brings this story out to public knowledge. The opening scene shows other female anchors following the rules followed by a collection of clips of Gretchen being told that her outfits are lovely as well as comments on her body with Gretchen looking uncomfortable but laughing it off. She is immediately presented as an outsider from the get go. When confronted by a woman in the supermarket who tells her that her show and Fox News are a disgrace, Gretchen doesn’t understand and twists it back on the woman. The performance doesn’t require the same level of depth and development that Theron and Robbie have to bring because Gretchen is already at the stage of rebellion but Kidman loses herself in the role. We don’t see Kidman, we see Gretchen. It would also be wrong not to mention the eerie performance from John Lithgow as Ailes. It isn’t easy to play a role like Ailes as someone who seems kind and respected but so manipulative and abusive beneath the surface. Despite having limited screen time, Ailes has a horrifying and lingering presence over the whole film and that is thanks to Lithgow’s intimidating command that he has when he is onscreen. He is very much a puppet master.
Bombshell was a surprisingly intense and thrilling film to watch. The limited use of location, primarily the Fox studios makes for a claustrophobic experience that reflects the entrapped environment that the woman work in. The intriguing part about it is how the women start speaking out without really talking to one another for fear of being outed as a traitor. Thanks to its controversial subject matter and triple female protagonist set-up, it probably will have limited success at awards season but the fact that it has received nominations is a great achievement. Theron, in particular, really brings her A game and delivers her best performance in years.
What did you think of Bombshell? Let me know in the comments below!
One of the most hyped films of the year comes in the form of Lorene Scafaria’s crime drama, Hustlers. Based on the New York Magazine article that follows a group of strippers who drug and con Wall Street men off their money during the 2008 recession. The film stars Constance Wu as Destiny, a former stripper who is interviewed by Elizabeth (Julia Stiles) who is conducting research for her article. Destiny reflects on her rise to the top with the help of veteran stripper, Ramona (Jennifer Lopez) and together they concoct a plan that sees them milking the Wall Street types for all they’re worth. This film could have easily slipped into a male gaze fantasy that sexualises the women and focuses on their bodies rather than their minds and motivations but luckily, with a female director and female majority clue, this film becomes a poignant reflection on the treatment of women and the recklessness of the rich who exploit the poor.
Lorene Scafaria’s direction and script is brilliant with multiple characters receiving plenty of depth and screen time all while keeping it boxed in within the interview narrative. It’s a simple technique to use to detach the audience from the dramatic events in the film. Aside from these glimpses into the future interview, the flashback follows a linear structure and shows the budding relationship between Destiny and Ramona as well as their falling out. The genius of Scafaria’s direction comes in focusing on the faces of the characters rather than their bodies. As Ramona does her opening dance, the screen flits to Destiny who looks on in awe as well as Ramona herself who clearly knows exactly what she’s doing as she writhes in a pile of money. Another brilliant scene is when Destiny grows tired of being interviewed by Elizabeth and switches off her recorder. What follows is a scene of silence to reflect that Destiny is now protected from this woman who has lived such a different life from her. Constance Wu was the perfect choice for Destiny. The difference between her as an aspiring stripper and the uncomfortable woman who has lived through the experiences at the interview is like viewing two different people. Wu doesn’t hold back in her vulnerability. Destiny is clearly a rookie at her job and to see Ramona take her under her wing rather than set her up for failure is something that a film created for the male gaze would not do. This is an authentic view of womanhood and it’s made all the more empowering knowing that it was made by a woman and features a collection of strong female characters.
I think it’s only right to give Jennifer Lopez her own section. The triple threat truly comes into her own as Destiny’s mentor, Ramona and has subsequently earned multiple major award nominations so far including Golden Globe and SAG nominations for Best Supporting Actress. It’s pretty inevitable that she will receive an Academy Award nomination at this point also and deservedly so. Ramona is presented as ruthless but caring, mentor and mother. She sees herself in Destiny and only wants to give her the best life that she never had. Despite her many flaws, we are drawn to Ramona and we understand why she thinks the way she does despite the danger in her plans. Her experience as a woman of colour who’s livelihood is dependant on the rich white men of Wall Street is shattered as she decides to take these matters into her own hands. Ramona understands that the only way to achieve the American Dream is to rely on oneself rather than lean on an unreliable patriarchy that is all to happy to kick those less fortunate to the curb. The audience doesn’t see Jennifer Lopez. From the first moment she appears on the screen, she is Ramona.
In terms of the supporting cast, we see Keke Palmer, Lili Reinhart, Cardi B and Lizzo popping up on the screen as fellow strippers. It’s great to see a majority collection of strong women of colour in a film that builds them up rather than knocking them down. Their lifestyle isn’t glorified but it isn’t judged either. It simply is. Cardi B was cast due to her past experience as a stripper before hitting the bigtime and Lizzo is cast due to her positive body message that she likes to convey in her music. This proves how important it was to Scafaria that the female cast have confidence and aren’t ashamed of their characters. Hustlers is a brilliant example of a film by women for women. I look forward to seeing what else Scafaria has up her sleeve as well as Lopez’s next acting ventures. It’s a film that brings a spectrum of emotions while remaining true to its message and true to the characters. Hustlers presents us with the argument that not everything is black and white and although openly flawed, the motivations are not to be glorified or judged. These are events that simply happened as a consequence of context.
The soundtrack is packed with nostalgia as we are truly thrown back to old school hits that range from Janet Jackson to Britney Spears. There’s even a cameo from Usher as the singer was reported to have visited the club. The film becomes elevated by its music. After all, it provides the literal backtrack to the women’s dance so picking the right songs is key. It is cleverly mixed with classical pieces that help to detach those scenes of adrenaline with the more hard-hitting drama. One aspect of the soundtrack that I thought was genius was not including songs by Jennifer Lopez, Cardi B or Lizzo. Despite the idea of an original collab being incredible and Oscar fodder that everyone would eat up, omitting their musical achievements outside of the film allows them to embrace the characters they are and brings the audience to a higher level of relatability and believability.
In a year that has seen many brilliant films written and directed by women, Hustlers is a great insight into the future of female cinema. If you haven’t seen this yet, I highly recommend that you do. As always, let me know what you think of Hustlers in the comments below!
A reigning Queen of the Silver Screen, Viola Davis is a titan of acting who shows us time and time again that she really is among the best of the best. She is also the first black actress to receive the Triple Crown of Acting. She is renowned for her grace and poise, she fights for what she believes in and only takes on roles that she wants. She is an icon in a number of different ways but for me, it is her passion for acting and determination to get to the heart of her characters that really stands out for me. You can tell that she truly loves what she does and that she puts herself into the characters whether it be an FBI agent in Suicide Squad, the mother of a missing child in Prisoners or a woman broken by a society that cripples her family because of the colour of their skin in Fences. I can’t even begin to say how much I love VIola Davis as an actress and activist
As ever, these posts delve into film performances so even though her inputs in projects such as the TV series How to Get Away With Murder are incredible, they won’t be added in the list. This also makes it a bit easier when picking the performances for my list.
Here are my top 5 performances in chronological order:
Doubt (2008)
The breakthrough performance that cemented Davis’ career onscreen, Doubt is a star-studded film that features iconic stars Meryl Streep, Amy Adams and Philip Seymour Hoffman, who all received Oscar nominations for their performances. Following Sister Aloysius (Streep) and Sister James (Adams) as they plot to bring down Father Flynn (Hoffman) who is suspected of molesting the school’s first black student. What was the most heartwrenching scene to come from this film was the performance from Viola Davis, an actress who had made her name on TV and the stage but had not broken into the film industry just yet. Her performance as Mrs. Miller, the mother of the abused child, is small but captivating as she struggles with the truth and her faith. It’s a pained performance that holds its ground against three of the best actors in modern times. Davis’ character admits that she would overlook the abuse if it meant that her son could still attend the school and escape from the socioeconomic background that he would be subjected to were he not attending. In one scene she becomes a parent torn by the abuse of secular and religious authorities. She knows that it is a world where they cannot win without suffering and the heartbreak of that realisation sits with you for the duration of the film.
The Help (2011)
Now for the film that solidified Davis as a leading star and should have won her an Academy Award (let’s not even get into that one). I am aware that The Help is a controversial film to put in here and it is completely understandable. The film sadly follows white saviour tropes as Emma Stone’s character, Eugenia “Skeeter” Phelan, helps to expose the abuse that the black maids in Jackson have received. The maids that she initially speak to are Aibileen Clark (Davis) and Minny Jackson (Octavia Spencer) who both provide brilliant performances. I know that sadly these kinds of roles feed into prejudice perceptions of non-white actors who are often delegated to subservient characters. I remember watching this film for the first time and absolutely loving the characters and how much they fight back. The film definitely has its flaws but both Davis and Spencer shine and earn their acclaim. Both characters are brilliantly developed and the scenes with the two of them in are fantastic. Davis has such a presence and says so much with a facial expression. Her performance as Aibileen is a masterclass of acting and only serves as a small step in a huge career.
Prisoners (2013)
This may be an unexpected inclusion into the list but I enjoyed this film a lot. Serving as Denis Villeneuve’s English-language debut, I went into thinking it would be a typical action drama but it was so much more than that. Davis plays Nancy Birch, a woman who’s daughter is kidnapped with her best friend. It’s a film that plays out every parent’s worst nightmare and the lengths one will go to to bring back their child. Davis is maternal, fierce and conflicted when Kevin Dover (Hugh Jackman) who’s daughter also went missing finds a suspect, locks him up and begins to beat him. Nancy is a character who refuses to play by others’ rules and does what feels right to her. Although this is a supporting role, Davis still maintains that strong presence onscreen and brings her A-game in a cast that includes Jackman, Terrence Howard and Jake Gyllenhaal to name a few. Much like the conflict Davis brought in Doubt, it’s hard not to feel affected by her performance. Whereas Jackman and Gyllenhaal fit a traditional “masculine” trope, Davis is the maternal heart but brings a strength that is not often given to women in thrillers. Her involvement shows her desire to work with respected directors and actors and also shows her perseverance to choose roles that help progress to women’s roles in films.
Fences (2016)
The one that brought her all the gongs, Fences is an adaptation of August Wilson’s 1985 play of the same name and directed by her co-star, Denzel Washington, who also brings a career best. Washington refused to divert from WIlson’s script meaning that Wilson is credited as screenwriter and received a posthumous Oscar nomination. Admittedly, Washington’s reluctance to divert from the script does make the film feel a bit too stage-like at times but there is no doubt that this is Davis’ film. I honestly think that they should have gone for the Best Leading Actress awards and she would have won it but the Supporting seemed a “safe” category. She plays Rose Lee Maxson, a woman whose life revolves around satisfying the desires of her husband and their son whose goal is to play baseball. Living in a rundown neighbourhood in a deeply racist society where the odds are stacked against them, Rose does not give up and fights while her husband Troy Maxson delves deeper into madness in his failure to succeed in his American Dream. It’s a highly emotionally charged film that sees Davis go into a different league of acting that is rarely seen. She refuses to be put down by the men she takes care of despite their physical intimidation. Rose is another strong woman that Viola can add to her extensive repertoire.
Widows (2018)
The last blockbuster that Viola starred in saw her take the lead as Veronica Rawlings in Steve McQueen’s fourth feature, Widows which follows four women who plot to carry out a heist after three of their husbands died in a botched job. Veronica is the group leader who draws together the plan using a notebook that her late husband, Harry (Liam Neeson) left in a safety deposit box. The other three women played by Michelle Rodriguez, Elizabeth Debicki and Cynthia Enviro and the four together have great characterisation and rapport. It’s a film built on the strength on its performers and Davis leads with ease. It’s refreshing to see such a strong action-based role which would traditionally be taken by a white male instead being portrayed by a black woman. The film is fearless and knows its strength. Veronica is one of the best female characters in recent years. She’s deeply complex as a grieving widow, a mother who’s son was wrongly murdered due to racism in authority and a woman who knows what she has to do to survive. She shields her fragility and fuels the operation with her persistence.
I am so excited to see where Viola’s career will go next. Even in films like Suicide Squad, she was a shining star to me. She’s an actress who is consistent, likeable and bankable. She is one of the key figures to pushing for more strong female characters in film and constantly talks about the importance of women in film.
What Viola Davis film is your favourite? Let me know in the comments below!
As I have discussed in a previous post, horror seems to the genre that directors are turning to to discuss important issues that may be seen as taboo. One topic in particular is mental health and in particular, anxiety, has be woven into the genre but in a way where it is more than a character worrying about monsters. Darren Aronofsky’s 2017 mother! and Ari Aster’s summer smash Midsommar both explore anxiety through the eyes of a female protagonist thrust into the centre and horror of a cult. They have a lot of similar traits but are shown in completely different ways. Both protagonists are 20-something white women in volatile relationships who are trying to create homes for themselves and find their purpose.
Both films are essentially about place and belonging. Home is integral and is the (literally in mother!) heart of the story. This is more explicitly so in mother! as we see the titular character (Jennifer Lawrence) renovating her house right before it descends into chaos at the hands of her husband, Him (Javier Bardem). Aronofsky’s brilliance as a director shines in this film as we never leave mother’s side. The house becomes a metaphor for mother and the anxiety that she feels is felt by the house itself. As the camera follows her, we get a literal female gaze of her home from being a place that she has literally and figuratively built to the remnants as it bursts into flames and destruction. mother’s anxiety comes from the claustrophobic portrayal as the home becomes increasingly invaded. It’s a heavy film that builds all of its emotion like the foundations of the house. We never leave the house because mother never leaves the house. She is physically and emotionally trapped by the relationship she is in. Building and renovating the house gives a false sense of control but Him has been pulling the strings the entire time. When she falls pregnant and becomes increasingly stressed, the shots become longer and strained. The film is an unflinching look at the invasive nature of anxiety and the struggle that it brings. It’s a not-so-subtle allegory for the Bible but it elevates this experience and becomes an unhinged tale of manipulation and control resulting in a climax that spirals out of Him’s control and becomes bigger than the vision he planned. This is due, in part, to mother’s reluctance to go along with his plans and the insistence she has on keeping her baby to herself. She is the closest creation he has to perfect, but in the end it isn’t enough. Her fears are realised and much like the house, she succumbs to the loss.
Midsommar by comparison is a much more straightforward film. The second feature by Ari Aster (full review can be read here), has a simple linear beginning, middle, end but that is where the simplicity ends. Following Dani (Florence Pugh) as she ventures to Sweden with her estranged boyfriend, Christian (Jack Reynor) and his friends to partake in a Commune’s ceremony, Midsommar also provides an unflinching portrayal of anxiety through its protagonist. Damaged by the tragic loss of her family, Dani’s life is forced to a standstill as her boyfriend becomes emotionally distant and she becomes more isolated. After he reluctantly offers her a space on their trip to Sweden, Dani accepts in the hope of finding adventure and distraction from her life. Unlike mother!, Dani’s anxiety was already ingrained as her sister’s bipolar grew more severe as time went on. Her opening scene sees her debate whether to actively respond to her sister’s troubling emails which in turn then results in the tragic murder/suicide of her sister and parents. If mother! showed an implosion of anxiety, Midsommar is an explosion. Dani’s anxiety gradually blooms during her time in the commune as she embraces the traditions unlike Christian and the others. In a similar way to mother!, the camera shakes with the anxiety as Dani experiences her panic attacks. When she is in the Commune, her anxiety is sympathised with in a way that seems alien to her. She becomes comfortable and relaxed in a way that we do not see beforehand. Much like the mural that is presented at the start, Dani’s journey is like the seasons as we start in the harsh winter in America to the open Spring in Sweden. Using pathetic fallacy may seem on the nose and perhaps it is, but in this film it enhances the experience and adds texture. The environment becomes reflective of Dani’s experience. The drug trips are a great example. When she takes drugs at the Commune entrance with Christian, she experiences a bad trip paralleling her confusion and alienation from the others. Compare this to the dance competition later on where she becomes open among the other women and begins speaking Swedish shows a completely different person.
It’s no surprise that we are seeing an increase in films that explore mental health so explicitly. With more people being open about their experiences, it has become an important talking point and naturally films become reflective and reactive to the social climate. Films like mother! and Midsommar provide a different perspective by adding those horror elements and unflinching narrative. The results are, ironically, a realistic portrayal of the inner struggle of anxiety by turning the characters inside out, their emotions become the visual canvas for the films. By no means am I suggesting that mental health has never been explored in films but it’s interesting to see it being explored in such a unique way that doesn’t see the protagonist immediately thrown into a psychiatric unit. The characters of mother and Dani are deeply complex. They have their own needs and desires and struggle with remaining an outsider to their peers. mother! shows a failed attempt whereas Midsommar goes down a route that is more successful but not in a way that would be deemed acceptable by those who did isolate her in America.
Both directors also wrote the scripts and their visions show a consistency with their own portfolios. Aronofosky is more experience and tends to write from the perspective of the outsider striving for success whereas Aster’s debut Hereditary follows a female protagonist who struggles to feel motivated when she emotionally finds herself spiralling downwards in a similar way to Dani. Both scripts are claustrophobic with Aronofsky opting to create a claustrophobic setting with an isolated cast. Even their names are unknown as they become known by their societal expectation whereas the characters in Midsommar are assigned their societal roles by the Commune at the end of the ceremony.
In conclusion, it’s clear that these are films that have a lot to say about society as a whole and what really makes an individual an outsider. Can an outsider ever truly fit in? Even then, is fitting in even the best solution? As shown in mother!, fitting in equates to chaos. The Commune in Midsommar hides its unspeakable actions behind the guise of ceremony and Dani becomes accomplice to this by accepting the events that occur. I am interested to see whether both directors further this narrative in future films and to see how mental health is portrayed in films in the future in general in a social climate that is becoming more and more uncertain each day.
Over the past few years, live viewings of National Theatre productions have increased in popularity with sold out screens all over the globe. Admittedly, I have never attended (mainly due to the price) but when I saw that Phoebe Waller-Bridge’s brilliant one-woman show Fleabag was going to be screened live from the Wyndham’s Theatre, I knew I had to go. As an avid fan of the show and Waller-Bridge, I have been counting down the days to see this and I was wasn’t disappointed. Fleabag follows a young woman as she navigates a life filled with heartbreak, relationships and a lot of sex. She is the sole owner of a guinea-pig themed café after her best friend, Boo, accidentally-on-purpose commits suicide. This run of performances marks Waller-Bridge’s last venture as her iconic creation and all tickets sold out within minutes making it one of the most anticipated theatre trips of the year. Sadly, I was unable to get tickets but I took this opportunity to see it immediately as I knew I would regret it instantly.
Fleabag herself is gritty to the extreme. She’s unfiltered, unapologetic and always thinking and talking about sex but she’s also complex, smart and relatable. I think this is why the character is universally loved. The character is a brilliantly rounded portrayal of the 21st century woman. A true modern feminist hero (even if in one hilarious slip, she admits that she would trade 5 years of her life for the “so-called perfect body”). She’s brutally honest, hilarious and riddled with bad habits such as excessive drinking, smoking and masturbating while her partner sleeps beside her. It’s as if Fleabag breaks every rule in the book and is a walking taboo.
Waller-Bridge’s script and Vicky Jones’ direction are impeccable. Every move and expression is calculated and enhancing the dialogue. It’s compact and tight with every segment executed perfectly. The setting is minimalist to the extreme, Fleabag and a chair in centre stage but the performance Waller-Bridge brings is anything but. Dressed in a red jumper and jeans, Waller-Bridge transports us to various locations around London, acting out different characters such as her sister, a job interviewer and regular café customer, Joe. I was interested to see if I would be as invested when watching it on a screen rather than in the theatre itself and I found myself transfixed. The camera work was brilliant and the sound was impeccable.
Compared to the BBC series, the stage production is grittier and sadder than its counterpart. The first episode covers the show with the revelation of the first season finale so a lot is added into the TV series. Fleabag seems even more unfiltered and unhinged in the stage production which I didn’t think was possible and it was great to see some familiar moments that I recognised from the show.
I wasn’t too sure what to expect but it was a brilliant experience and I hope to go to many more National Theatre productions. The atmosphere was great and everyone in the theatre audience and cinema audience were completely invested in her story. I expected to laugh which I did in abundance but I wasn’t expecting to cry as much as I did. A heartbreaking segment with Fleabag and Hilary, the café’s mascot guinea pig, is horrific to watch and brought an array of gasps and tears from both sets of audiences. There’s an encore screening in October and I recommend that you book tickets as soon as possible. It’s a brilliant and refreshing piece of theatre that shows how a simple production can create a complex experience.
“Many of my movies have strong female leads- brave, self-sufficient girls that don’t think twice about fighting for what they believe with all their heart. They’ll need a friend, or a supporter, but never a savior. Any woman is just as capable of being a hero as any man.”
Hayao Miyazaki
“I do not make films primarily for children. I make them for the child in all of us, whether he be six or sixty. Call the child innocence.”
Walt Disney
I have previously written a post on Studio Ghibli giving a brief overview on why I love their films so much (you can read that here) as well as a post on women’s voice in film and the importance of strong female characters and female filmmakers (which you can read here). Thinking about these two posts separately merged together in my mind because some of the strongest female protagonists in film can be found in the offerings from Studio Ghibli. The characters are mainly young girls who are thrown into situations that test their strength and maturity, each time providing us with realistic and organic character growth. In a climate where women behind and in front of the camera is being looked at under a microscopic lens with every line and gesture analysed by critics and audience alike, Studio Ghibli feels like a pioneer that has been pulling off the strong female character for decades. Admittedly, behind the camera, there are little to no women at the top of the board. No woman has ever directed or written a Ghibli film; however, their strong female characters have been gracing our screen ever since the release of Nausicaä of the Valley of the Wind in 1984. As I previously mentioned, no woman has ever directed or written a Ghibli film so there is room for improvement and diversity at the top but what we have been presented with thus far seems to be a more diverse and varied on the female perspective in an environment where their strength doesn’t feel forced. Miyazaki’s statement above appears to read as a mantra or a basis for creating his female characters. In three sentences he has already captured an image of an individual who can fight but is also capable of sensitivity and equality among her peers. His definition of strength being “brave” and “self-sufficient” shows how a strong character doesn’t come from difficult physical activity necessarily but from following what you believe and fighting for that as well as pointing out the importance of female independence. It’s unrealistic to imagine a strong female character who in the end can’t even look after herself because she’s a woman.
You may be wondering why I have also included a Walt Disney quote above. Well aside from the fact that Disney distribute the Ghibli films in America, I think that Ghibli follow the same ethos as Disney in this respect by using young characters to make the films aspirational for children and inspirational for adults. Ghibli films are more dense than Disney films and are fearless in exploring darker issues such as war and death in a way that translates well to a global audience of all ages. The “child innocence” that Disney is talking about is a willingness to use film as a medium to discuss the bigger issues which I think Ghibli achieves effortlessly. My favourite film¸ Castle in the Sky (1986) veers on the more childish side of their films and yet it is one of the more mature topically, looking at the issues of man vs nature and corruption in authority as well as incorporating antiheroes and villains disguised as heroes. Ghibli never patronises the audience and yet is perfectly watchable for young children whilst never feeling like a lecture for its older audience. In regards to “child innocence”, Ghibli are showing young girls specifically that they are capable of being the hero without needing a man to save them. It may seem trivial to ingrain this belief into the mind of a four year old but the films we watch as young children tend to follow and influence our own morals as we grow up.
I think it’s also important to note the consistent high standard that the films themselves hold. Of course some have received mixed or negative reviews but the majority of offerings (particularly those from Miyazaki and Takahata) have been embraced as modern classics with Spirited Away (2002) winning the studio the Academy Award for Best Animated Feature. I think they hold an important part of film, not only in the animation world, but in general because it is so rare that a non-English studio has such a huge global following in the West which is a huge achievement. Their stories translate well globally no matter how bizarre the stories and the creatures in them may seem and it is because of that relatibility that the female characters have specifically. Their bravery and independence are a welcoming break from the usual Hollywood heartbreak/makeup trope that the female audience is overly familiar with.
“Brave”
Bravery comes in many forms in the Ghibli universe. There are the female characters who act as traditional heroes such as Nausicaä in Nausicaä of the Valley of the Wind and San in Princess Mononoke (1997) who protect their families and environment from the evil threat of mankind who aims to destroy nature. Nausicaä is a dystopian film based in a post-apocalyptic world where humans live in small villages and giant insects rule large vasts of land and jungles. Nausicaä is the princess of her village and has the ability to communicate with the insects and aims to make peace with them. Despite their supposed roles as enemies, Nausicaä understands the bigger picture and uses her influence and morals to fight against those who want to burn the jungle. Princess Mononoke is a Medieval film that follows a young prince called Ashitaka who is cursed by a Boar God after he kills it. He encounters wolf God Moro and his companion, the human San (also known as Princess Mononoke) and together they fight the industrial Irontown, a small village that is dangerously mining into the forest of the Gods, killing the nature as they go. Both films are set in opposite time spans and yet they tell almost the same story. Both women have an outsider male companion who acts as a sidekick and supporter without ever overshadowing the female. Although both films do hint at couplings, there is nothing inherently overtly sexual or forced, San is particularly uncomfortable with being physically close to Ashitaka at first. Both films delve into technology and war. Even Princess Mononoke, set in Medieval Japan, has weapons that feel oddly futuristic in the form of large iron harpoons made from the materials from the mine whereas Nausicaa allowed for more imagination due to its dystopic setting. It makes use of hovercrafts and spaceships with laser guns to boot but it doesn’t feel out of place. Both films have women working in the war itself and operating the machinery with no issue. Ashitaka even struggles to keep up with the women who run the iron mill. Lady Eboshi, leader of Irontown, is a brilliant villain as she is just as complex as the protagonists. She genuinely believes that what she is doing is for the good of the village and wants to provide a decent life, particularly for the women. Her greed for power is subsequently what thwarts this as she aims to dominate the forest and mine as much as possible. It is this character conflict that allows us to view Lady Eboshi as more than a simple evil figure like the Evil Stepmothers in Snow White or Cinderella. Her motive is to gain power for herself but she also has motives for her people as well. This is what makes Ghibli women much more complex but at the same time, realistic and gives the audience an extra layer into character growth.
There are also characters who approach bravery in a more peaceful manner such as Sheeta (Castle in the Sky) and Chihiro (Spirited Away), both films directed by Miyazaki. Both characters are young girls who are thrown into adult situations. Sheeta is on the run from government officials as they try to steal her precious necklace that is the key to finding legendary floating castle, Laputa whereas Chihiro finds herself working in a bathhouse for spirits when her parents are turned into pigs after feasting on the food for the spirits. Castle in the Sky looks at how government officials would use the castle for military purposes to rule the world. Similarly, No Face in Spirited Away manipulates through his riches and shows the corrupt nature of the structure in the bathhouse. Money is seen as an evil entity in bothas Pazu’s job working in the mine is under threat from no products found to sell, whereas the gold No Face throws around is seen as vulgar and pathetic as the adult characters scramble for nuggets. The gold pieces hold no significance to Chihiro and that means No Face has no power over her. She cannot be ruled by him because he cannot buy her. Sheeta was raised on a farm by her grandmother and Chihiro raised in modern day Japanese suburbs. Neither one has encountered a violent situation nor would know how to fight or defend themselves but their determination to do what is right and fight the powers that oppress them allow them the growth to use their wits. We see Sheeta, a princess, take on the chores on the pirate ship ran by Dola and her crew. She cooks and cleans and is unphased by the attention Dola’s sons are giving her (it’s a bit weird that adult men are fawning over a child but that’s for another time). She has a natural kinship with the robots that inhabit Laputa and with nature in general. Her ancestry gives her that connection and it gives her the strength to protect the castle without the use of violence. Chihiro, on the other hand, must travel across the spirit world to find a way to get home. The villains in Spirited Away aren’t violent themselves (with the exception of No Face) and so Chihiro isn’t under a physical threat. The beginning of the film shows Chihiro dissastified with her parents’ decision to move away. She finds the idea of change difficult and this is shown as she sulks in the back of the car shortly before her parents are turned into pigs. Spirited Away is a film that is all about change. It’s about Chihiro’s ability to live a different life and gain perspective. Her identity is literally taken from her as bathhouse boss, Yubaba, employs her and steals her name, renaming her Sen. It’s a horrifying moment as she is a child with no identity but the film shows her growth into a more mature person and how she is all the better for the experiences in the spirit world.
“Self-sufficient”
Ghibli’s exploration into identity and independence is achieved best from the perspective of the teenage girl trying to discover herself in a society that has certain expectations for her. One of the most iconic Ghibli characters, Kiki (Kiki’s Delivery Service 1988) is a clumsy witch who struggles to fit into mainstream society. She finds her place when she uses her magic for a delivery service, delivering goods from the local bakery to the townspeople in order to save the business from closure. Hayao Miyazaki’s Kiki’s Delivery Service is one of Ghibli’s lighter offerings, much like My Neighbor Totoro and doesn’t have the dark complex issues that other films have. However, it is all about the teenage girl experience and how she has to find her identity in a society that has certain expectations for women. The village itself leads a more traditional lifestyle with men as active and the women take passive roles; however, Kiki becomes self-sufficient when she fights this hierarchy. Her male friend, Tombo, admires Kiki for her magic and at no point is threatened by her independence. Kiki’s Delivery Service features a flipped relationship in which the female is active and the male passive, again, without it feeling forced or a major talking point. When Kiki becomes depressed after feeling intimidated by Tombo’s friends, she becomes depressed and is unable to use her powers or understand Jiji, her cat. It is only when she sees Tombo in danger as he hangs from an aircraft that she finds her purpose and can fly again to save him. Some people may argue that it’s following the old stereotype that a woman only has love as a motivation but the significance of this scene comes from the fact that she rescues him. This never happens in regular Hollywood offerings never mind a family animation. Kiki becomes the hero of her own story and reward and validation that is more significant doesn’t come from Tombo, the male protagonist, but from Kiki herself as she finds her own identity. This is also the case in Yoshifumi Kondō’s only directorial effort, Whisper of the Heart (1995) before his untimely death in 1998. Following high-achieving, 14 year-old Shizuku, an avid writer who loves to translate Western songs into Japanese and her encounter with Seiji, an aspiring luthier (someone who makes and repairs stringed instruments). They work together to create a story about a mysterious cat statue called The Baron that Shizuku found in Seiji’s grandfather’s antique shop. Like Kiki’s Delivery Service, Whisper of the Heart is a film about identity and independence. As Shizuku delves deeper into her creative world when writing the story on The Baron, her grades drop and she becomes lazy and sluggish. Her need for independence arrives at this low point as she realises what she wants to do with her life and knows that she must work hard at school to achieve it. She doesn’t allow her life to continuously slump to appease Seiji but rather than threaten Seiji, he in fact expresses his admiration for Shizuku for taking control of her own life and declares his love for her. The self-sufficient female isn’t punished for her strength but rewarded. Like Kiki’s Delivery Service, Shizuku’s independence comes from herself. She does receive validation from the male protagonist but this feels secondary and insignificant compared to the love that she has for herself at the end of the film.
Just as there are films that show the success of female independence, Ghibli have also given us films that show the true battle for female self-sufficiency. Isao Takahata’s beautiful swansong, The Tale of the Princess Kaguya, is a retelling of the Japanese folklore about a young girl found in a bamboo stalk and her ascension to royalty and the struggle she has with this lifestyle. The aesthetic of the film is traditional Japanese ink and is visually a stunning film to watch with beautiful bright colours from the cherry blossoms and kimonos combined with the natural materials used to create this film. This is combined with darker undertones such as depression and the loss of identity as Princess Kaguya is forced to pick a husband despite not even wanting to marry. At first she is lured in by the clothes and the materialistic lifestyle with the giant palace but the palace soon grows into a prison and she struggles to adjust to this new life under the watchful eye of her governess who rebuts her desire for fun and laughter. The most poignant scene in this film comes near the end of the party where Kaguya is forced to sit behind a curtain and is forbidden to socialise with anyone, except for the potential suitors who talk from the other side of the curtain. Layered with multiple kimonos, she runs through the palace to get away and sheds each kimono off layer by layer, throwing them on the road as she runs in the full light of the moon. She is literally rejecting her role in society by casting the clothing away. The materials do not hold the same magic as they once did and much like Kiki and Shizuki, she realises that wants to be free. The end of the film sees Kaguya returning to her original home, the Moon, in a scene that is painful to watch as the memories of her life on Earth are forgotten and her parents look on heartbroken as they watch their daughter whisked away. Kaguya was unable to find her solace on Earth but her struggle is important to take away. The film exploits the impossible expectations thrusted onto women and how they aren’t treated as humans most of the time. Kaguya’s discomfort mainly came from the daily practice of makeup and being physically restricted when in the presence of a man. The Tale of the Princess Kaguya is one of the darkest films that Ghibli have released and I think it was also a real brave offering because it openly looked at depression in a realistic way. Kaguya wasn’t able to gain her independence on Earth but it is a brilliantly inspirational film for the young girls watching who wish to be self-sufficient.
“The child in all of us”
Ghibli films are often marketed as children films due to the animation style and constant comparisons with Disney; however, Studio Ghibli has a large adult following and its understandable to see why. Every film has underlying mature contexts that children won’t understand. Issues such as illness and death are prevalent in many of their films and even though they are suitable for children to watch, they are oftentimes heartbreaking for adults to view as well. The prime example for this would be young sisters Satsuki and May in Miyazaki’s My Neighbor Totoro. Following the girls and their father as they move to be closer to their ill mother, My Neighbor Totoro is often viewed as the most iconic Ghibli film (Totoro’s profile is the Studio’s logo). The girls encounter the spirits by live in the surrounding forest including the soot spirits that initially live in the house and eventually the giant Totoro, a lovable spirit who lives in a tree near the house. He reveals himself to Mei first then Satsuki, the latter being an iconic scene in which Satsuki lends him an umbrella in the torrential rain before he boards another iconic character in the form of the Catbus. This film is a favourite among children and adults alike because it displays the creative talent and imagination the Studio have. On the surface it is a lovable and cute film that is brings a smile to your face but there is an undercurrent through the film which is the the plot regarding the mother. She’s rarely onscreen but the adult audience is aware that she exists and she is severely ill in hospital. It seems that she may even die at some point but because the film is told through the perspective of the two girls, we don’t encounter mother unless they visit her at hospital. As the girls, particularly Mei, are very young, they don’t fully understand the situation and so they act as if everything is normal and enjoy their adventures with Totoro and company. It’s this child innocence that gives the film its light and allows it to avoid being full of darkness and sadness. Their innocence prevents the reality from creeping in and allows their imagination to soar.
Ghibli’s most adult film to date is one that sees child innocence stripped away during the course of World War II. Grave of the Fireflies (1988) is Isao Takahata’s war tale about siblings, Seita and his younger sister, Setsuko and is the Studio’s most heartbreaking film to date and probably one of the hardest films to watch overall due to its explicit portrayal of Japan during wartime. The film opens with Seita’s death as he meets the spirit of his sister in the afterlife before proceeding into a flashback which shows the story of their demise. When their home is bombed, Seita must take his sister to their aunt’s house in the countryside for shelter. Eventually they have to leave to the abuse they are subjected to and are by themselves. Seita himself is only a teenager and both siblings are forced to adapt to the environment around them. Setsuko takes solace in the fireflies that flutter around only to find them dead the next day. The scene when she buries it is when she questions and begins to understand the concept of life and death, asking Seita why their mother had to die. It’s this moment when Setsuko is stripped of her child innocence and is forced to adapt to a very adult situation. The film does not treat her kindly because she is a child. Setsuko is subjected to starvation which eventually leads to her graphic and heartbreaking death which sees Seita cremating her ashes with her favourite straw doll. The size of the wicker basket holding her is tiny and showcases the cruelty of war. Takahata has denied claims that the film acts as an anti-war piece but it is difficult to view it as anything else as it is the loss of that child innocence and the loss of life at such a young age which shows the true cost of war. It’s a profound film that is extremely difficult to watch but it is important and shows how fearless the studio was even in its early days.
Studio Ghibli is a company that refuses to conform to the expectations held by mainstream releases. Instead, it remains a pioneer for film in general and continues to release films that explore complex female characters who are brave and self-sufficient. The hearts of their films come from the girls and women who choose to fight for what they believe in and the journey they have to discover what they are capable of. The characters don’t always achieve their end goals but the growth that they go through shows their resilience and strength. One word that cannot be used to describe the female characters in Ghibli is weak because each character has their complexities and flaws but they also have their morals and heart. Without the female characters, the standard of Studio Ghibli films would not be what they are today and in fact, Ghibli probably wouldn’t even exist. The first major character to be introduced (although not under the Ghibli name technically) was Nausicaä, suggesting that having “brave” and “self-sufficient” female heroes has always been at the heart of the Studio Ghibli ethos. After all, “any woman is just as capable of being a hero as any man”.
Women in film has become a huge talking point for film development in recent years, partially due to the #metoo movement that outed the abusive patriarchy in film seeing women given less power both in representation and finance. A lot of discussion on the internet (from men mostly) questioning whether there truly is a problem in the first place, do the women deserve the harassment they face and most importantly, do we really need these gender swap remakes? The answers to these questions are simply: yes there is a problem, no a woman never deserves harassment and of course we need as much female representation as possible.
It’s not secret that the days of Golden Hollywood, although seemingly flawless and iconic, foresaw the way women in film were treated by their bosses (producers and directors). From the infamous “casting couch” to the manipulative studio contracts, Hollywood presented itself as a mecca of dreams but proved to be a breaking point of mental illness, drug and alcohol misuse and domestic abuse. This period sees the breakdown of many stars including Judy Garland, Marilyn Monroe and Bette Davis just to name a few. It seemed that solace could only be found at the bottom of a whiskey glass.
So what does this issue have to do with Hollywood today?
Well, to begin with, despite the elimination of studio contracts in the 50s due to the collapse of the Hollywood studio structure, it appears that female filmmaking is still viewed as a niche rather than as an equal offering. The fact that we even discuss a film as “female” or celebrate female creators and strong female characters shouldn’t be something we celebrate in the 21st century. Especially considering that we’re at a century of accessible filmmaking that has distributed across the globe. AFter everything that has happened globally regarding women’s issues such as voting rights, reproductive rights, fighting the wage gap, it’s unsurprising that the fight for the female experience through a woman’s perspective has been equally difficult. After all, film is a brilliant and affordable medium to translate issues to a global audience using visuals to gain awareness for issues. Take last year’s Oscar-winning short documentary Period. End of Sentence. that looks at female poverty in India where women are forced to quit school due to periods as they are unablt to afford sanitary products. In terms of fictional feature films, we have seen a resurgence of female driven comedies with Bridesmaids accredited with starting this trend. Other offerings in recent years have reverted back to teenage years with 2019’s Booksmart and 2017’s Lady Bird among the big fish. it’s great to see original stories created by women being given mainstream releases and have subsequently done well in the awards circuit. As well as comedies, we have also seen female-centred dramas such as Todd Haynes’ beautiful and iconic LGBT love story Carol (you can read my review here) starring Cate Blanchett and Rooney Mara, which I would argue is the best love film of the century so far. Now these Indie films do incredibly well, but why hasn’t this translated as well into mainstream films? I’ll try to break this down.
It’s known that the majority of people who will go and see an original story created and performed by women is going to be seen by women. That’s all well and good but considering that men are the majority of the cinematic audience statistically, it’s important to get men to see films created and performed by women too. This is for a number of reasons and since the film industry is a business, the most important issue is money. If more men see the films then more money is given to the filmmakers and then more films created by women can be made which would eventually make the idea of the “female film” as old and traditional as the Golden Age of Hollywood. This brings me to the gender swap remakes. If you looked at the highest grossing films in recent years, chances are that they are filled with sequels, reboots, prequels and remakes. Using this information, it is a smart idea that in order to bring a female perspective to a high-grossing film, you must incorporate strong female roles into these films. However, this hasn’t been without a share of complaints from a small portion of the male audience. Take the Marvel and DC Universes for example. Admittedly, I am not a huge fan of the Marvel Universe but I have never heard such negativity from a male audience regarding it’s iconic female characters before. It seems that every other film is released with no issue, Marvel films particularly tend to sell out every initial screening and exceed in both critic and audience circles so when they decided to do a film dedicated to Captain Marvel, this should have been a celebration for a strong female character to join the achievements of its predecessors; however, this sadly wasn’t the case. A portion of the male audience was outraged by Brie Larson’s interpretation of the role as well as her feminist statements. It’s all well and good when the male superheros want to prove their stereotyped masculinity (which is an old school trope that Marvel appear to be fighting as well by bringing vulnerability into the male characters) but when Captain Marvel doesn’t need a man to save the world and more importantly, doesn’t want a man with her to save the world, this is a major issue. It was a role that should have been celebrated but instead, while Endgame was adored for bringing its emotion to the male characters (Iron Man specifically), Captain Marvel is viewed in a negative light because she veers away from the traditional “eye-candy” trope that Golden Hollywood has been feeding the audience with for years. I hope that as these franchises expand and more female characters are incorporated into their respected universes, the male audience that openly despises the likes of Captain Marvel and Wonder Woman may be open to the idea of the strong, independent women without thinking of them as simple love interests or sidekicks rather than the leaders of their own stories. Despite this small male audience who tweet outrageously about the femalecentred films, DC is clearly proud of the overwhelming success of Wonder Woman as they are bringing Patty Jenkins back for the second film (I did actually enjoy Wonder Woman! The first segment featuring the Amazonians is astonishing direction and writing).
I am not writing this article to be negative or bash the male audience because the male audience is important to the plight of female filmmaking as well and it is only a small portion. I think that there has to be an understanding that it is much harder for a woman to get a film made than a man. Once that statement is understood and acknowledged then the discussion of female film becomes a welcome idea and celebrated. But in a world where the Indie films created by women are renowned for their originality, why do we need gender swapped films such as Ghostbusters? Do we actually need them?
As I said at the top of this article… yes, yes we do!
Why do we need them? By remaking films with gender swapped protagonists, it gives the audience a new perspective on a femiliar setting. It’s easy to be angered when a classic like Ghostbusters is given an update with the best female comedians much like the original with men. It’s a brilliant film by itself (it obviously isn’t as good as the original) but I don’t think the intention was to “outdo” the original. I think it was to show that women could be given an ordinary role without the woman part being of any importance. I think that if Ghostbusters was remade with a male cast, there would be the usual complaints of “we don’t need a remake” but the abuse hurled at the stars of the film showed that there is sexist view from this portion of male audience. It seems to not only be that women have “taken” the roles, but that women are put in powerful positions without being the love interest. There is also an argument that representation is important and when given the opportunity to make these remakes, it’s another opportunity to put women in the driving seat which is only a positive.
Some of the films I love such as Eternal Sunshine of the Spotless Mind and Frances Ha feature brilliant female characters. Clementine Kruczynski (played fantastically by Kate Winslet) in the former and Greta Gerwig as the quirky titular character in the latter are women who have their flaws and struggles but at the end of the day, are independent and strong. Both films directed by men but show the important of strong female presence in film. Eternal Sunshine’s script won the Best Original Screenplay Academy Award suggesting that there is a demand for these female characters. Another film that is a force of nature is 2016’s Turkish offering, Mustang, about five young sisters who are forced into marriage after wrongly being accused of sexual activity with a group of boys in their class at school. Written and directed by Deniz Gamze Erguven in her directorial debut, Mustang is one of the best films I have ever seen. The film is shown through the eyes of the youngest sister, Lale, giving the audience an innocent glimpse into an oppressive world without explicitly saying so. Much like the message of the film, the writing and directing is subtle with a lot of stillness and peace in moments of chaos. Another brilliant female-led offering is 2018’s The Favourite which was hugely snubbed in the Oscars this year and has not one, not two but THREE stellar leads in the form of Olivia Colman as Queen Anne (who deservedly won an Oscar for her performance) and Rachel Weisz and Emma Stone as the women vying for the queen’s attention. It’s a complex triangle of lust, power and manipulation. This answers the question whether women can carry a film with a resounding YES!
At the end of it all, more needs to be done to finance and distribute mainstream films created by and starring women but this isn’t to say that none exist at all and the offerings we have had in recent years particularly show a huge improvement to the films of the Golden Era. Women have proven time and time again that they can create films that are both critical and commercial (when given the chance) successes.
What are your favourite films created by and/or starring women? Let me know in the comments below?
Performance-wise, the cast is really strong, particularly from Rhys and Hanks. Rhys brings out the protagonist’s inner conflict where the hurt that he feels is overshadowed by the anger. In fact, it seems that Vogel is more of an antagonist in the first act but as he lowers his guard, we begin to understand why he is how he is. It is ultimately a film about forgiveness and acceptance and no revelation is more important than the moment when Vogel accepts himself and his situation. The moment when he confronts his mum is heartbreaking and provides a bittersweet release for him as he allows himself to move forward with his life and enjoy the life that he has. I think that Rhys provides a side of his acting that we have not seen before and although Hanks is undoubtedly the highlight of the film, I think that Rhys will only get better from now on and has managed to successfully break into mainstream films.
I wasn’t expecting to love A Beautiful Day in the Neighborhood as much as I did as I thought it was going to be run-off-the-mill Oscar bait but I left the cinema feeling a mix of emotions. It was funny, dramatic, heartbreaking and hopeful all rolled into one. Despite being set in the 90s and reminiscent and nostalgic for the 70s, A Beautiful Day in the Neighborhood feels fresh and seems to be a new kind of family film. It isn’t afraid of delving into dark topics while remaining appropriate and light at the same time. It stayed with me long after the credits rolled and is among my favourites of awards season. It is a shame that the film didn’t garner more than its single Oscar nomination because Heller’s direction and Nate Heller’s score are brilliant and deserved the recognition. 
