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Promising Young Woman (2020)

One of my most anticipated films of 2020 that was delayed due to the pandemic was Promising Young Woman. Directed and written by Emerald Fennell in her directorial debut and starring Carey Mulligan as Cassie, a woman who pretends to be intoxicated and then confronts the men who try to take advantage of her. Proving to be one of the best original films to come into the 2021 awards season, this is a shining moment for Mulligan and Fennell, putting films made by and starring women at the forefront. In a year that has seen Nomadland and First Cow be recognised among the Best Picture categories at various festivals, there has been a real breakthrough in mainstream frontrunners that are made by women. This could be a year that sees more than one woman nominated for Best Director.

Reading the initial plot and seeing the trailer is enough to cause a lot of hype and controversy because of the subject matter. However, this is a necessary film during a time where women are often ignored or not believed and are left feeling like they are the guilty party. Surprisingly, what stands out about Promising Young Woman is that it is truly made from the female gaze perspective and Fennell’s direction is hugely impressive. Her distinct and aggressive vision works so well when building up the moments of tension as we try to figure out what is going on in Cassie’s mind. This is very much a character driven film in which we dive into Cassie’s psyche and her unpredictability makes this one of the most original thrillers of recent years.

Mulligan brings a career best in her role as Cassie which is incredible considering the calibre of her previous performances. I don’t doubt that she will be receiving many nominations for Best Actress at all of the major awards shows, with many critics saying she should actually win. Mulligan’s range is showcased from the first scene as she transitions from intoxicated and vulnerable to fearless and confrontational. Noting down the names of the men she confronts, Cassie leads a double life albeit unsuccessfully. As her underground mission thrives, her personal and professional life suffers. She turns 30 but lives at her parents with no longterm plan in place. As everything begins to settle with Ryan, Cassie is at an inner conflict with herself and what she should do moving forward. It would have been so easy for many actors to overly do this role but Mulligan has the perfect subtly and restraint needed to provide a performance that is perfectly well-rounded. At the end of it all, Cassie is a flawed individual with a strong motive that has kept her anchored to the past and she’s come to the point where she has to move on with the film chronicling this struggle.

In support, Bo Burnham plays Ryan, Cassie’s love interest. Having been a pupil at medical school with Cassie before she dropped out, Ryan is sweet and good-natured. On the surface, he is everything that the men who encounter Cassie aren’t and this is alien to Cassie who doesn’t know how to emotional open herself up to him. What is great about Burnham is how subtle his performance is. Whereas Cassie is calculating and cold, he is warm and light, the perfect opposite for Cassie. Naturally, Ryan isn’t aware of Cassie’s antics which makes for a differing perspective when he sees her out and about with another man who she is luring into her trap. As the audience is aware of the act, it is easy to forget that it is something that no one else knows. Seeing his bewildered and disappointed reaction as he believes she isn’t interested in him at all is heartbreaking. It’s this naivity that makes his dark past seem all the more shocking during the start of the third act.

The score by Anthony Willis is phenomenal. Bringing tones from old-school horror with screeching violins and combining it with a modern beat that meshes together to bring a unique sound that works perfectly with the film. There are also a lot of romantic string pieces that would fit into any period drama such as the piece that plays when Ryan forgives Cassie and asks her out on another date. Alongside the pop inspired soundtrack that includes tracks from the Spice Girls and Paris Hilton which are more uplifting. Music is integral to the film, especially Hilton’s “Stars Are Blind” which makes for the backing track for an emotional montage that tracks Cassie and Ryan’s relationship.

Promising Young Woman has proven itself to be a hugely impressive film and will probably be one of my strong favourites going into awards season. Fennell has knocked it out of the park in her directorial debut and I hope she gets recognition for her script, particularly and Mulligan is bound to receive a slew of award nominations and wins. It’s a film that I will be thinking about and wanting to rewatch when it is released. With so many themes and complex characters, there is so much to discuss and I am sure it is a film that will be referenced a lot in the future, especially when discussing feminist films and films made through the female gaze.

What did you think of Promising Young Woman? Let me know what you think in the comments below!

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The Love Witch (2016)

Anna Biller’s second feature, The Love Witch is a film I have been eager to watch for a while now. Since its release in 2016, The Love Witch has gained a cult following and become a firm favourite of modern horror thanks to its modern interpretation of 60s horror. The film follows witch, Elaine Parks (Samantha Robinson) who moves to a small town after suffering a breakdown due to the death of her ex-husband. The films acts as an ode to 1960s horror films as well as a technicolour fantasy and is definitely a passion project for Biller who serves as director, writer, producer, editor and composer. If that alone doesn’t impress then the final result is sure to please. Much like the film’s protagonist, The Love Witch is impossible to put into a box. It stands on its own two feet as a brilliant feminist piece that subverts the rules in the filmmaking book to create one of the most original films this century.

Biller’s vision is fully realised thanks to her impeccable direction and writing. The choice to make the actors perform in a presentational style plays in perfectly with the nostalgic side of the film. Also, Biller’s genius use of natural colouring to give the film a technicolour aesthetic is innovative and unique. The dedication Biller put into this film is phenomenal and she is definitely a filmmaker to watch. Her script is among the best original scripts of this century hands down and I am shocked it wasn’t up for some major awards. It’s a shame that this film didn’t receive a wide release because it’s a wonderful representation of women in film. This is very much Biller’s film and its empowering to see a woman take the helm at so many roles in the filmmaking process.

To say Samantha Robinson is hypnotic as Elaine is an understatement. From the first shot when we see Elaine driving to her new home we hear her story in the voice over, it’s clear that the weight of the film lies on Robinson’s shoulders and she carries with ease. Elaine is a tragic character, desperate to find love and will do anything to get it but faces drastic consequences. To write her off as a weak character would be a huge mistake as there is a strength to Elaine that becomes evident as the film unfolds. Unafraid and aware of her sexuality, Elaine tries to find her place in a patriarchal world that has never cared for her. This is a fantastic breakout role for Robinson and proves that she has a promising career as a leading actress. Even when she isn’t onscreen, her presence can be felt because she is so affectice in her role. As Elaine begins to succeed in her quest for love, the mask begins to slip as her self-absorbed nature and lack of empathy leads to her downfall. It soon emerges that maybe Elaine isn’t as naive as we are led to believe. This is thanks to the presentational acting which Robinson pulls off flawlessly.

Biller’s score is inspired by Medieval and Renaissance music injected with synthesised sounds to give it a modern feel. Much like the rest of the film, the score is unpredictable and deeply original. There are so many standout pieces throughout the film but the track playing when Elaine and interior designer, Trish go for tea is a particular highlight. The music numbers really enhance the film and create blur in genres as it flits from horror to musical to comedy in the score alone. There are also pieces that feature childlike singing which I think exemplifies the naivety of the film’s characters and is played at pivotal moments and the transition of naivety to realisation. I really hope that Biller continues to score her films because she perfectly encapsulates the originality of her film.

Overall, The Love Witch is one of the most original films I have seen in a while. Its unique take on nostalgia mixed with the strong female gaze makes it a strong win in my book. Biller’s talent as a filmmaker and visionary is evident from the opening shot and it’s clear that she is a force to be reckoned with. This has quickly become a firm favourite of mine and I can see myself rewatching this many times as it’s a film rich in subtext. I am really looking forward to seeing her next film Bluebeard.

What do you think of The Love Witch? Let me know in the comments below!

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Marielle Heller: Film Ranking

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 Neighborhood here 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!

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A Beautiful Day in the Neighborhood (2019)

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.Matthew Rhys (Finalized)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. rogers3.0I 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!

 

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Yentl (1983)

Barbra Streisand’s directorial debut follows the titular character (Streisand), a young woman living in an Ashkenazi Jewish community in the early 20th century who disguises as a man to study in a Yeshiva after her father passes away. Based on the short story by Isaac Bashevis Singer and cowritten by Streisand and Jack Rosenthal, Yentl is a film about subverting the cultural and societal norm as well as conflicts between religion and morality. Yentl Mendel is constantly questioning the way of life in her village and is looked down upon by the townspeople for being unmarried with no prospect of settling down. It is only when she disguises as a man called Anshel that she finds a place of belonging and her views are accepted and even celebrated. Problems occur when Yentl begins to fall in love with her mentor, Avigdor (Mandy Patinkin) who is in love with his ex-fiancée Hadass (Amy Irving) who then in turn falls in love with Anshel. It is the very definition of a love triangle and allows the film to have some lighter moments such as Anshel and Hadass’ wedding night. Winning Streisand a Best Director award at the Golden Globes making her the first and to date only woman to win the accolade, Yentl marks a huge step for female filmmakers in the mainstream thanks to its star appeal and critical and commercial success.

Streisand as director is really remarkable. You can sense the passion that she has for this film. Although there are trademark comedic moments and musical numbers that are identifiable with a Streisand picture, there is no doubt that the dramatic elements and aesthetic allow Streisand to explore a darker approach that we hadn’t really seen from her on film previously. Streisand’s female gaze gives this film a new perspective that we haven’t seen before in film. Instead of condemning Yentl’s choices, we view Anshel as a sensitive man who isn’t afraid of his vulnerability despite living in a male dominated environment. Where it not for Streisand’s feminine interpretation, the performance of Anshel could have slipped into caricature and taken away from the mature themes that the film discusses. Streisand lends a heavy feminist focus as she disputes why a woman cannot have the same outlook and expectation of a man while still appreciating the jobs that the women do. Yentl can be viewed as a crossover between genders and she doesn’t really fit in and altering her gender isn’t an issue. The pursuit of knowledge and equality overtakes the ideals expected of her. There are so many different readings that could be made when watching this film. It has been argued that Yentl could be considered as a queer film thanks to its discussions on gender and sexuality which adds a more progressive meaning to the story.

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In terms of her performance, it’s best to view Streisand as playing two roles rather than one such is her success in distinctly differentiating the two. Her Yentl is typical Streisand: sassy, witty and strong with an ambition to subvert the norm. This is the Streisand that we have grown to love in her previous cinematic outings. What is different about Yentl is that she is aware that she is trapped within her local community. When reciting the Talmud at her father’s funeral, it becomes such a scandal and causes widespread gossip. The transition period between Yentl and Anshel comes from her journey to the Yeshiva which includes her heartbreaking rendition of “Papa, Can You Hear Me?” where Yentl begs her father for forgiveness for her decision to disguise as a man in pursuit of an education. She sits alone in the forest at nighttime with nothing but a candle for light and it is then when the realisation of what she has done comes to fruition. It is also the point where she knows that there is no turning back and thus has to embody the identity of Anshel. Streisand’s Anshel takes a bit of getting used to in the same way as Yentl getting used to her new identity. We witness Anshel practicing his tone of voice and mannerisms, making sure not to appear too feminine without risking his integrity.

Mandy Patinkin does a wonderful job as Avigdor, Anshel’s friend and mentor at the Yeshiva who is initially engaged to Hadass. Avigdor isn’t afraid to be vulnerable to Anshel and his other male friends but the idea of being vulnerable to Hadass or her mother disgusts him. He doesn’t allow himself to get involved in any confrontation and is always calm when in her company. Avigdor seems so progressive when we are first introduced because he is so accepting of Anshel but it is easy to forget that Anshel is Yentl and he has no idea. When he spouts ideas about a woman’s true place in the home and that Hadass cannot think for herself, it comes across as a shock and ignorant but despite his intelligence, Avigdor is still a product of an environment that looks down on women. In another brilliant supporting turn, Amy Irving was deservedly nominated for an Oscar for Best Supporting Actress in her role as Hadass. When we first meet Hadass, she appears to fulfill all the criteria of the perfect woman and seems to do everything at the men’s commands. What we don’t realise is that she has successfully supressed any feeling of rebellion and it is when she is married to Anshel that she shares her aspirations to learn more. Yentl is in the middle of these two characters and yet it is because of Yentl that they are drawn closer together and allow themselves a more progressive and happier life.

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The amazing music is composed by Michel Legrand, one of the best composers that the film industry had to offer. From his imagination we were given the incredible song “Papa, Can You Hear Me?” composed by Legrand with lyrics written by Alan and Marilyn Bergman. The trio won an Oscar for Best Original Song Score and Its Adaptation or Adaptation Score. In true Legrand fashion, the music is whimsical and brings an essence of fairytale to the story. The musical numbers are far and few between but the score itself is wonderfully subtle when you compare to Legrand’s catalogue such as the music for Les Parapluies De Cherbourg (The Umbrellas of Cherbourg). The songs are suited to Streisand’s amazing vocal range, especially the aforementioned song but rather than being full of show-stopping numbers like the ones in Funny Girl, Legrand makes use of Yentl’s male identity and gives the songs a lower key register so Yentl is singing as if she were a man herself.

Overall, Yentl is a film that has helped pave the way for female filmmakers in mainstream cinema. It is a film not without flaws but it has beauty in its ability to discuss ideas that are considered taboo. Even within the Orthodox setting in the early 20th century, there are still similarities that Streisand is able to get across to link with the modern day. Yentl is not a film that Streisand wishes to make all about herself despite directing and starring in it but the story of how women are often subjected to misogyny and not afforded the chances of their male counterparts. It is equal parts drama and musical and a smaller part comedy which encapsulates Yentl’s character.

What did you think of Yentl? Let me know in the comments below!

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Frances Ha (2012)

Watching this for the first time during university was truly revolutionary. Noah Baumbach’s film follows the titular character (played flawlessly by Greta Gerwig), a contemporary dancer who struggles to maintain a secure lifestyle in New York after her best friend Sophie (Mickey Sumner) moves out of their apartment. Filmed in black and white, stripping back the New York background in a way that feels like an homage to Woody Allen’s Manhatten, Frances Ha is witty and heartbreaking while creating a brilliantly developed character who feels real and leaves you thinking long after the credits roll. Directed by Baumbach and co-written by him and Gerwig, Frances Ha has earned its place among the great indie films of the 21st century for its mix of quick wit and improvisation. Following Frances and told from her perspective, Frances Ha is a seemingly simple film in that it doesn’t explore a specific plot but it demonstrates the struggle young people have and what they will do in order to achieve their dreams.

Frances Halladay is enigmatic and fiery. She has an array of bad habits such as smoking and bad money management but she has a passion for life and sees the magic in the everyday. This love for life is magnetic and we begin to see New York from Frances’ perspective. Her New York is an entirely different place. She has plenty of struggles but somehow she is able to bounce back and flit from place to place knowing that everything will figure itself out in the end. Despite not having a “real” plot, the film sees Frances become reliant on herself. Her initial identity is completely tied to Sophie but when Sophie moves, Frances is forced to carve her own path. She’s one of my favourite characters in film with good reason. She’s quirky, doesn’t let go off her dreams and importantly, doesn’t allow a man to dictate or motivate any action unless she wants it to. For all her flaws, Frances brings her strength subtly and isn’t aware of her own power.

Frances Ha allows a deeper focus on characters rather than plot. The natural approach the actors bring mean that the audience forgets that they are watching a film rather than a documentary. Mainly set and filmed in New York, there are also scenes that take us to Sacramento and Paris. No matter where Frances goes, she doesn’t change and the world remains just as black and white as ever. We see Frances at a turning point in her life. At 27 years old she is starting to lose a grip on her dream as a dancer and begins to understand that she will have to compromise to maintain security. Because it’s not plot driven, it feels as though the audience has stepped into this moment in her life and that there will be a big breakthrough for her but Baumbach is a grounded visualist brings a more realistic approach and finds a more believable solution.

I have touched on the cinematography before but it deserves its own observation. Baumbach’s New York feels like it doesn’t belong in a specific time or place. The decision to film in black and white definitely contributes to it but also Frances’ ability to largely avoid modern culture and do her own thing gives the film a detachment and allows it to become immersed in its own universe. The decision to make it black and white added a quirky aesthetic to the film and made it a talking point but ultimately, it is a film that relies heavily on its actors and Gerwig in particular who is in the majority of the film. Inspired by the French New Wave, the film is minimalist and brings a European style to the US. Although it doesn’t bring whistles and bells, it is contrasted by Frances’ extroverted personality. Without Baumbach or Gerwig, Frances Ha would not be the film it is and would not be the indie success that it is.

There is something that continuously draws me in with Frances Ha. Every time I watch it I notice something new whether it is a particular performance, the cinematography or the writing. It’s a film that maintains its topics and place in the mumblecore movement. As both Gerwig and Baumbach’s careers have skyrocketed to new heights with both releasing two of the best films of the year with Little Women and Marriage Story respectively, it’ll be great to see them collaborate again. Their 2015 film Mistress America which was their last collaboration was also a fun watch but for me, it is Frances Ha that remains my favourite. It’s a film that is strongly feminist and feels relatable as someone who aspires to make a living in the creative industry.

What do you think of Frances Ha? Let me know in the comments below!

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Mustang (2015)

A gem of a film you may have missed this past decade comes in the form of this Oscar-nominated Turkish-French film. Mustang is the debut feature by filmmaker Deniz Gamze Ergüven and follows five young sisters who are forced into arranged marriages after they are caught innocently playing in the sea with male classmates. Told from the perspective of the youngest sister, Lale (Güneş Şensoy), Mustang shows the struggles of being a woman in an oppressive society, the loss of innocence and the importance of sisterhood. Ergüven’s direction and script is drawn from aspects of her own life and this authenticity and knowledge can certainly be felt. The film uses limited locations which exemplifies the situation the sisters are in. The opening scenes show them leaving school and the freedom on the beach as they play. When their activities are discovered, they are trapped within the family home and forced to practice chores expected from women such as cooking and cleaning. The house is in the middle of nowhere and the girls are allowed limited access into the town due to the shame that they brought to the family. What Ergüven does so well by showing the film from Lale’s perspective is making the space seem bigger than what it is.

All five sisters have their own distinct personalities and outlook on life. As each one is married off one by one from eldest to youngest, we view their differing circumstances. This is mostly noticeable in the wedding scene where we see the two older sisters wed their husbands. Older sister, Sonay (İlayda Akdoğan) marries a man of her own choice and dances happily but second oldest sister Selma (Tuğba Sunguroğlu) sits forlorn at the table as she is forced to marry someone she does not care for. There isn’t a heavy focus on either sister as we are viewing this from Lale’s perspective and so the attention flits between various partygoers as well as Lale’s grandmother and Uncle. The writing in this scene is absolutely phenomenal and poignant as it marks the last time the five sisters are altogether and alive. It is in the wedding scene when you realise the seriousness of the plot. It is one thing for underage and arranged marriage to be discussed but it is an entirely different scenario when you see it actually happening. Especially the aftermath scene in which Selma’s bedsheets are inspected for blood the morning after and her in-laws claim she isn’t a virgin. The life-threatening undertones make this one of the terrifying scenes in film. The protagonist of the film, however, comes in the form of the youngest sister Lale. Şensoy brings a fantastic performance that is fearless and powerful. Lale isn’t afraid of what others think nor is she afraid of angering her elders when they are in the wrong. Her natural ability to resist is evident throughout the whole film and the concluding rebellion that she carries out with her sister, Nur (Doğa Doğuşlu) only shows how brilliant a character she is.

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One of my favourite parts of this film is the score by Warren Ellis who does a stellar job of capturing the sisters’ struggle. It’s a quiet and soft score that grows with intensity as the time to find Lale a husband looms. It’s an underrated score by all accounts and should have brought Ellis an Oscar nomination at least. The score is such an important part of a film that can really enhance the overall experience and I think that Ellis captures the heart of the film and the bond between the sisters. The combination of classic sounds with traditional Turkish music used in the wedding scene blurs the lines between the reality and the movie.

One of the best scenes in this film comes when the sisters sneak out of the house to attend a football match where adult men are banned. They are caught on camera during the match and in a bid to avoid their Uncle from seeing, the Grandmother swiftly turns the power off. It’s a small gesture but in this moment, the audience realises that the Grandmother has her sympathies for the girls and doesn’t want them to get into any further trouble. Ironically, the football match is where the girls feel safe and have fun as they are in a stadium surrounded by fellow women and watching men as a spectacle rather than being a spectacle in a male dominated world themselves. They have regained their power as individuals with individual identities in this scene and it is empowering to watch. Another scene which is a standout for me is the downfall of middle sister, Ece (Elit İşcan) who ends up committing suicide when the pain becomes too much. After waiting to be married off, she is molested by her Uncle but keeps this from her sisters so as not to upset them. The burden becomes overwhelming and she eventually takes her own life. This moment brings the trauma from the outside world into the supposedly “safe” confines of the family home. The brief glimpse that Lale sees of her bloodied sister is all the audience see before we are whisked away for the men to get rid of the body.

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Foreign language films always bring the best out of cinema whilst seemingly pushing the envelope in ways that English-language films seem reluctant and scared. Films like Mustang help lift the lid and raise awareness on important issues without caring about their opposing sides feelings. They have a clear point of view and they are films that make the audience think. The year this came out was an extremely strong year in film as you also had the revolutionary Hunagrian Holocaust feature Son of Saul which follows life of a man subject to working the gas chambers. Son of Saul was the film deservingly selected to walk home with the Oscar on awards night but any other year and that would have easily belonged to Mustang. It is a film that brings strength and hope to its female protagonists and also sheds a light on the injustice thrust upon young women in modern society.

What do you think of Mustang? Let me know in the comments below!

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Hustlers (2019)

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.

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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.

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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!

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Top 5 Viola Davis Performances

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!

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“I have nothing left to give”: Anxiety in mother! and Midsommar

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.