There’s a slight French, sisterly vibe in the 7th part of 50 Films Made By Women – likely not deliberate. Please do continue with us (a great deal of effort has gone into this), and soak up all the contrasting female film-makers, some veterans in their field, some very new to the game:
Marie Antoinette (2006) – Sofia Coppola — Henny McClymont
Sofia Coppola is one of the few celebrated female directors working in today’s masculinized Hollywood. One might argue, of course, that she is playing with a stacked deck given her family connections, but the style of her movies, unforgettable in the arthouse, and counterintuitively uncommercial to the execs, probably null her unfair advantage. One of her movies, which at the time sparked criticism was Marie Antoinette. Coppola consciously chose to exclude politics from the film and acknowledged that the film was not a typical biopic. “It is not a lesson of history, it’s an interpretation carried by my desire for covering the subject differently.” In Coppola’s philosophy, it is not on cinema to tell the world what to think – the world should make its own interpretation of the story – she provides the rhythms and you provide the rhymes. The movie Marie Antoinette shows a historical figure, set to modern imagery, language, gestures, and somehow even the candy colors of the pompous gowns seem post-modern, as if Louis the XVI wanted his girl to dress like Barbie on crack. Coppola tells the story of Marie Antoinette from girlhood to the French Revolution, adding pop under-associations with teen stars and Hollywood celebrities. Wild parties with drugs consumed like candy and endless shopping excesses. Kirsten Dunst, who has previous with Coppola from her directorial debut The Virgin Suicides moves Marie Antoinette from the lost girl to the silly teenager. Dunst juxtaposes naïveté, loneliness and charisma, capturing the essence of a young woman who desperately desires freedom while being burdened with the knowledge that her only value is in her ability to give birth to an heir. She tries to explore her identity as much as she can, though imprisoned by social expectations. Writer and director Sofia Coppola loosely based the film on Antonia Fraser’s biography of the French queen, and mixed the dialogue with actual quotes from her life. Marie Antoinette is unexpectedly deeper and more feminist than one realizes. Sofia Coppola created a luxuriant and beautiful feast for the eyes, but more importantly humanized the “cut down” queen and helps us connect with heavy use of the post-modern. Coppola reminds us of the gender suppression of women throughout history and that this continues even today, perhaps speaking to her own trials. This reviewer for one hopes that she continues to tell the story from a female point of view.
Luck by Chance (2009) – Zoya Akhtar — Asif Khan
Zoya Akhtar is an Indian filmmaker and writer who made her directorial debut with this acclaimed 2009 feature about an actor’s journey to become a movie star in Bollywood. All of her three films (including the acclaimed Zindagi Na Milegi Dobara and the recent Dil Dhadakne Do) are ensemble pieces. Unlike other mainstream Bollywood filmmakers, Akhtar champions storytelling of this variety rather than simple boy-meets-girl love stories that the industry is known for. Akhtar comes from a hugely talented family. Her father, brother, mother and stepmother are either actors, writers, directors or poets, lyricists and singers. Luck by Chance works both as a love letter to the Indian film industry as well as a serious-minded/subtle satire. Akhtar pokes fun at working of the industry effectively and keenly. There is an immense understanding of the subject as well as the film’s story that comes with Akhtar’s experience as well as her observant eye. At the center of this film are two main characters whose personal ambitions, individual paths and distinct understanding as well as consequences provides for the films main conflicts. Packed with good performances (Konkana Sen Sharma for life), impressionable variety of supporting turns and uncountable Bollywood cameos, Luck By Chance is about the huge film industry where stars are made overnight at the expense of other true gems. Bittersweet, deftly handled with layers and layers of nuances, Luck by Chance is surely one of the best films to come out from India about its own industry.
The Milk of Sorrow (2009) – Claudia Llosa — Asif Khan
Claudia Llosa’s 2009 sophomore feature is a Peruvian film that looks back at the harsh and damaging recent history of the country’s abuse against women. It went on to win Golden Bear and FIPRESCI awards at the Berlin International Film Festical and was nominated for best foreign language Oscar, first for a film from Peru. The impact of its storytelling was clear then. The Milk of Sorrow isn’t a perfect film but it makes up for an impactful experience. Peru’s very real past and the film’s magical realism filled narrative makes up for an unforgettable experience. A film both a vivid projection of what it represents and a bit lost in the attempt. Llosa feels a responsibility to address the sexual violence that was committed against women by the army during a 12-year period in the 80’s and early 90’s. Based on the book “Entre Prójimos” which recounts number of testimonials by women who were raped, the film uses a folk belief to tell a sociological story of how violence has far more reach than the very people directly affected. The central character in the film is suffering from a rare and mysterious illness which is transmitted through the breast milk of pregnant women who were raped. Her life is shrouded by hopelessness, confusion and extreme fear. A tragic existence. The Milk of Sorrow is slow-paced and a little oblique, likely to turn off certain viewers. It is nevertheless filled with beautiful imagery and tells a haunting story of society’s deeply harmful tendencies. Other notable film by Claudia Llosa is her debut film Madeinusa.
Europa Europa (1990) – Agnieszka Holland — Daniel Smith-Rowsey
Europa Europa is a Holocaust bildungsroman that still feels as fresh and delicate as a just-bloomed orchid. Based on the stunning, twist-laden memoir by Solomon Perel, these are the adventures of a teenage Jew using his good looks and skill with languages to hide in wartime Germany. One thing we often see from female directors is a certain non-judgmentalism, where instead of heroes or villains we simply get characters. Indeed Agnieska Holland brings that sort of equanimity to this film, and most Americans aren’t accustomed to it in a Holocaust narrative: Germans and Jews both behaving in good and bad ways from time to time. But the film is really about Solomon and what he will do to survive – most anything, we learn. And it turns out that joining the Hitler Youth and falling in love with a young, pre-Before Sunrise Julie Delpy isn’t all it’s cracked up to be when you have to hide your circumcised penis. Delpy and the astonishing lead, Marco Hofschneider, don’t seem to be acting, but instead robustly living through a time of tremendous fear, regimentation, and love. Never less than unexpected, the story nevertheless feels relentlessly organic, as though it couldn’t have happened any other way.
Respire (2014) – Mélanie Laurent —– Asif Khan
Mélanie Laurent is the French actress mostly known internationally for her Hollywood films, Inglorious Basterds and Now You See Me. Before Tarantino gave her that tremendous role, she acted in French films and won accolades. Some of those who have seen Respire, the intense 2014 feature were surprised by the face that Laurent directs films too. Or was it just me? This is her sophomore film and it was screened at the 2014 Cannes Film Festival in the International Critics’ Week section. Laurent co-wrote this drama based on the novel of the same name by Anne-Sophie Brasme. It stars Joséphine Japy as Charlie, a somewhat naive but not entirely clueless teenage student. She is surrounded by her dear friends in school while there are some parental issues at her home. A good student leading a typical life. Then enters Sarah, played by Lou de Laâge in a truly breakthrough performance. Sarah is the exact opposite, strong-minded, open to anything, sharp-tongued and very self-confident. There is an allure to her personality, a pull that Charlie can’t escape from. Essentially what seems like friendship turns into a dangerous match of psyches and emotions. Jealousy, ignorance, needs, wants – Sarah overpowers Charlie’s life. Her presence or absence always turn into something complicated. Respire is a suspense drama that is psychologically impacting as well as efficient in its approach and focus on these characters and what their relationship yields.
Originally posted August 2015.
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