We venture to New Zealand, and Australia this chapter. I implored many female film-lovers to step forward and contribute here, believe me, but they were, for now, far too busy changing the world. Amen to that.
The Kids Are All Right (2010) – Lisa Cholodenko — Al Robinson
The Kids Are All Right is one of those films that could have been okay if it had been directed by a man, but it’s great because it was directed by a woman. In fact, it’s story came from the director’s personal experience. Director and co-writer Lisa Cholodenko and her companion Wendy have a son through a sperm donor. This became the idea for The Kids Are All Right. In the film, Jules (Julianne Moore) and Nic (Annette Bening) have two children, Joni (Mia Wasikowska) and Laser (Josh Hutcherson). Both children were conceived with help from a sperm donor named Paul (Mark Ruffalo). At the beginning of the film, Joni and Laser want to finally meet their biological father, Paul. From there, problems ensue, and in the end, it teaches us that no matter what your family makeup and sexual preference is, every family and everyone has the same issues. Writer/director Lisa Cholodenko gave it the right kind of care and you can tell that making this film was very personal and important to her. The film was released in the summer of 2010, and went on to be one of the best of the year, because it had wonderful performances all around, and it was a timely story with an important message.
The Furthest End Awaits (2014) – Chiang Hsiu Chiung — Paddy Mulholland
Likely among the least well-recognized titles on this list is Chiang Hsiu Chiung’s The Furthest End Awaits. Known to many only for a small role in Hou Hsiao Hsien’s 1991 A Brighter Summer Day, Chiang’s credits as a director were limited to co-credits, short films and barely-seen titles since the turn of the millennium. Last year’s The Furthest End Awaits won’t exactly be breaking international box office records, but it’s a beautiful, mature work and a minor festival hit, which has attracted moderate popularity in the Far East. The story of a businesswoman who travels to her hometown on the Ishigawa Noto peninsula when her father dies, and of a local family she befriends and assists, it’s a warm and gentle character piece, an absorbing drama told with sumptuous sensitivity by Chiang. The young filmmaker demonstrates a deep sympathy for her characters, and the largely female cast responds with stirring, understated performances. Should visibility for this recent title increase, you may find an opportunity to catch this delightful film in an arthouse or at a festival near you. For now, put it on your watchlist!
The Hitch-Hiker (1953) – Ida Lupino — Steve Schweighofer
In her fifth outing as a director, Ida Lupino, often referred to as the first mainstream American woman to take on the noir genre, adapted the true story of a 1950 psychopathic rampage into a concise 70-minute film, proving that she could tell a tough story just as effectively as “the guys”. While doing so, Lupino also manages to throw a couple of bricks at the noir genre. The most interesting thing about this film is that the so-called victims are not the typical damsels-in-distress, but two fishing buddies who pick up a hitchhiker – played by B-movie bogeyman favorite William Talman – and spend the remainder of the film trying to escape his abuse. There are no macho heroics here, just two ordinary guys trying to outsmart their captor. Lupino also sets her story in two contrasting but equally claustrophobic settings – inside a car and in a wide-open desert, not the usual urban setting of most noir efforts. This is perfect B-movie fare that ran as the second feature at drive-ins in the 50s and numerous late shows that terrified babysitters in the 60s before the talk shows took over late night TV. While the films she directed were never blockbusters or even considered to be on the same level as her male counterparts, Ida Lupino was probably the first actress to make the jump to produce, direct, write and even secure financing for her films. And with regard to her concise, fearless, no-nonsense style of storytelling that rivaled the boys? I only wish that Lupino was still around to witness the work of the woman who inherited the flame Ida lit – Katherine Bigelow.
Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles (1975) – Chantal Akerman — Asif Khan
Chantal Akerman’s feminist, aesthetical and subtextual masterpiece from the 70’s is one of those defining films that a cinephile gets to or needs to experience. If you haven’t seen it yet (be it for its length, subject or otherwise), I implore you to check it out. One of my early ‘experimental’ film viewings, it haunts me to this very day. Staring Delphine Seyrig as Jeanne Dielman, this Belgian feature is about a single mother’s strictly scheduled and modulated daily existence. Filmed in long takes with static and carefully detailed/regulated framing, this film follows the character through a time frame of three days. Filmed in what feels like real-time, it makes you experience things you rarely get to experience in movies like this. Cooking, cleaning, mothering and also prostitution. These are all part of Jeanne Dielman’s life. Essential, labour-like uneventful chores but essential. Her oppressive existence is central to this visceral and hypnotic film, rarely does mundanity offers such electrifying ‘twists & turns’. Akerman’s bravery as a filmmaker above all can not only be seen or gushed over but felt. Her contribution to cinema in general in the form of this wonderful gift is something to be savored and to be proud of. Other notable films from Chantal Akerman includes “I, you, he, she”, “La Captive”, “Almayer’s Folly” and “News From Home”.
Cléo from 5 to 7 (1962) – Agnes Varda — Asif Khan
Cléo from 5 to 7 is one of the highest points of the Nouvelle Vague. It isn’t largely considered as significant or iconic as films by Godard or Truffaut, which is puzzling. Agnès Varda belongs to the Left Bank (Non-Cahiers du cinéma FNW filmmakers), who are mostly known for their literary influences. Varda’s approach is generally documentary-like, photographically rich, social commentary laden. All of that is at the heart and soul of her (and cinema’s) masterpiece about a singer Cléo who anxiously waits to hear the results of her medical test, fearing that she’ll be diagnosed with cancer. The film unfolds seemingly in real-time, as the title reveals. Nearly two hours in life of a woman, her fears, desires, insecurities, despair and search for something bigger and more truthful. There is a distinct quality and feeling to this work, apparently identifiable but truly, unlike anything. It is a devastating, revelatory, apocalyptic film. Taking objective approach in portraying the life of her character, the film nevertheless packs more emotions and gut-punch feelings in the subtlest of manner than most successful films by others. Varda uses techniques to the best of use for conveying the hidden or unseen aspects, to advance particular notion and not to look cool. Cléo from 5 to 7 is a feminist film without being political but human. Cléo looks at herself in the mirror, in other people, in clothes, on-screen and she sees herself and her life. Some of Varda’s notable films include the French New Wave precursor La Pointe Courte, Vagabond, The Gleaners and I, Le Bonheur, Jacquot de Nantes and The Beaches of Agnès.
Originally posted August 2015.
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