I need to make a confession: I was a tad naive when I started this list. I had originally intended to list the films directed by women that I had seen this year as part of the #52FilmsByWomen pledge. Problem is, there are a few of those films I’ve seen that I wouldn’t recommend to anyone, and there are other films by women that I’ve seen years ago – films that have significantly shaped my film-watching habits – that I want to promote with a written pair of word pom-poms.
And then came the recommendations from the women in the film industry, shedding light on some great films I’ve never even heard of. And some of these films are proving difficult to acquire.
So now this has turned into a much simpler list made up of totally awesome and different films made by women. This month, freelance writer, broadcaster and all-round professional film geek Sarah McMullan has recommended a film to me from her own thorough list of films by women.
#18 Orlando | written and directed by Sally Potter
“I first saw Orlando in a cinema in Christchurch in the ‘90s. My overwhelming memory is a luminous Tilda Swinton rushing through a labyrinth in the most incredible wig and gown, absolutely outraged that she has been told she will die alone and a spinster.
“I was 15 or 16 and had just finished reading the book. I can remember thinking before I saw the film that no one could possibly adapt it. One character’s story that spans over 400 years? AND they change from a man to a woman, spontaneously? Impossible to do it justice. But Sally Potter does.
“It’s her second feature but was the first time I’d come across her work. It was also my introduction to Tilda. Turns out the two of them had been trying to get Orlando made for 5 years, and it shows. Swinton is the very essence of Orlando: she has the perfect androgynous look yet still gives each incarnation a sensual, sexual core; ALL while delivering Potter’s dialogue with just the right amount of wit.
“It seems formal at the start – but stay with it. Bitingly funny, it offers a razor sharp commentary on “a woman’s place” some of which is still (sadly) valid today. Visually it’s an absolute feast, particularly the costumes. I doubt there’s been a film made in the last 50 years that has influenced Haute Couture editorial’s as much as this!” – Sarah McMullan
See On Demand options for ‘Orlando’
#19 In Darkness | directed by Agnieszka Holland
You could accuse In Darkness for getting an Academy Award nomination simply for being a holocaust movie, but you can’t accuse it of being a story not worth telling. The film honours the true story of Polish sewer worker Leopold ‘Poldek’ Socha who dedicated himself to saving the lives of over a dozen Jews during World War Two by hiding them in the sewers.
Poldek is depicted as a salty character, giving zero fifths of a shit about the people he’s protecting unless they’re paying for his protection. The group in hiding aren’t so warm either, which is understandable given the circumstances. As a consequence, it’s hard to feel personally attached to anyone for the first hour. Stick with it though, because when Poldek’s priorities start to shift, his connection with these survivors becomes unavoidable. That’s when the movie gets you.
Agnieszka Holland uses the above-and-below situation to clever effect. The sewers are darkly lit, but eventually become a source of comfort. When the film reaches winter and the situation grows more tense, the snowy whites of the ground above signals a bright harshness that’s discomforting. It’s a viciously smart contract between hidden safety and exposed danger.
See On Demand options for ‘In Darkness’
#20 The Riot Club | directed by Lone Scherfig
I don’t get angry much (my spirit animal is a daffodil) but when a movie purposely aligns me to feel furious, I relish it. It’s similar to how people get relieving enjoyment out of crying, except I’m getting enjoyment flexing my anger vessels at the thought of breaking the knee-caps of the grossly rich snob boys in The Riot Club.
Lone Scherfig is best known as the director of the Oscar-nominated An Education, but I chose to highlight The Riot Club because of how interesting the confined setting is. Based on Laura Wade’s play (who adapted the screen version too), the film is as subtle as a foghorn with its criticisms of white privilege, troubling traditions and toxic masculinity. But the filmmakers throw so many horrifying scenarios into this fire that subtlety seems irrelevant in a film that’s intended to burn so viciously. It’s not a perfect film, but it’s a perfect hate-watch.
See DVD, Blu-ray and On Demand options for ‘The Riot Club’
#21 The Invitation | directed by Karyn Kusama
I wish I saw this at the film festival…
This dinner party drama takes a while to warm up, taking its time to show estranged friends (and ex-partners) reuniting with one another. It may prove too slow for some, and I can understand that, but Karyn Kusama’s patient direction grounds these characters deeply. As we learn more about our lead’s past and his personal hangups, his growing discomfort with the social gathering makes more sense – as does the odd behaviour of his former spouse.
I’ve sat through a number of bottle films like this where the slow-burning conflict leads to a disappointing fizzle. But The Invitation didn’t fizzle; it ignited. And when it did, I felt like my patience paid off with added interest. I haven’t felt that way about a film in quite a while.
See DVD and On Demand options for ‘The Invitation’
The list of #52FilmsByWomen continues with…
January | February | March | April
Films by women in cinemas this May…
The Meddler written and directed by Lorene Scafaria
