20th Century Women

20th Century Women

(2016)

Oscar nominee Annette Bening (The Kids Are All Right), Elle Fanning (The Neon Demon) and Greta Gerwig (Mistress America) lead this comedic, '70s-set, multi-story film about love, family, freedom, and the (sometimes) futile search for meaning. From the writer-director of 2010's Beginners.... More

Set in Santa Barbara, the film follows Dorothea Fields (Bening), a determined single mother in her mid-50s who is raising her adolescent son, Jamie (newcomer Lucas Jade Zumann) at a moment brimming with cultural change and rebellion. Dorothea enlists the help of two younger women in Jamie’s upbringing – via Abbie (Gerwig), a free-spirited punk artist living as a boarder in the Fields’ home, and Julie (Fanning), a savvy and provocative teenage neighbour.Hide

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Flicks Review

Dorothea (Annette Bening) is an unapologetic 55-year-old feminist and single mother here, doing her best to bring up her 15-year-old son Jamie (Lucas Jade Zumann) whilst navigating the sociopolitical change heavy in the 1979 Santa Barbara air. As independent and free-thinking as she believes herself to be, Dorothea begins to feel the disconnect of the 40 year age gap between her and her son. She enlists the help of her 24 year-old art-punk boarder Abbie (Greta Gerwig) and Jamie’s school friend and unrequited love interest, 17 year-old Julie (Elle Fanning), to help raise Jamie and provide him with experiences and perspectives she realises she is not equipped to instigate.... More

Gerwig’s Abbie unfolds her frustration and passion masterfully, bringing much needed intensity to the screen, while Fanning’s doe-eyed Julie provides an honest portrayal of a beautiful, curious teen dipping her toe in the disappointing waters of sexual freedom within her unenlightened peer group. However it is linchpin Dorothea who shines, at once providing open-minded, thought provoking counsel to all, and then recoiling with bristling displeasure when the tables are turned on her own issues and insecurities.

With the spotlight on the three “20th century women” to convey their stories at this particular moment in time, the only character whose tale feels insubstantial is the young man who supposedly binds them all together. While the film is partly narrated by Jamie, with portraits of the cast and their backstories woven throughout, Jamie’s actual thoughts and feelings about anything are markedly absent.

Although this film does have a promising premise, 20th Century Women ultimately failed to ignite any sustained empathy and felt at times to meander a little too indulgently, with the authenticity of these snapshots of the era blurred somewhat by the inclusion of the decidedly modern values of 2018.

I left 20th Century Women feeling amused and gently entertained, and pondering the increasing emergence of a certain genre of film - that which aims to celebrate ballsy older women. With Hollywood finally catching up with a need for these stories, it’s hopeful that we might see less privileged, more diverse on-screen offerings to follow.Hide


The Peoples' Reviews

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BY cinemusefilm superstar

The coming-of-age genre looks at turning points like sexual awakening, maturing identity, and rites of adulthood. Often gender stereotyped, they tend to use a retro-nostalgic lens because we feel safer looking back. The film 20th Century Women (2016) follows these genre cues but in its own way breaks out of the usual gender boxes with a narrative that pivots on a few words delivered innocently: “Don’t you need a man to raise a man?”.

It is 1979 in free-spirited California where 55... More year-old divorcee Dorothea (Annette Bening) feels inadequate in raising her loner 15 year-old son Jamie (Lucas Zumann). She enlists the support of boarder Abbie (Greta Gerwig) and Jamie’s best friend Julie (Elle Fanning) by asking them to talk to him about the kind of things a teenage boy cannot talk about with a mother. The three women are intelligent, open communicators and Jamie is immersed in a feminised world-view, with a post-hippy handyman friend providing a token male presence.

What follows is more like a rich montage of charming moments than significant narrative developments. Jamie is taken to cool music places, has long private chats with Abbie and Julie, is given feminist literature to soften his emerging masculinity, and is sensitised to the sexual ethics that will shape his future relationships. Among other things, he learns about loving the whole woman not just her sexual parts; the physiology of female orgasm; and the value of platonic friendship. As a period piece, it richly evokes the fashion, music, and customs of a time that many audiences will view through rose-coloured glass: a simpler, safer, and more truthful time.

Greta Gerwig and Elle Fanning are cast perfectly as embodiments of the growing girl-power of the era. But the acting dynamics are driven entirely by Annette Bening and Lucas Zumann. While the story may be about Jamie’s entry to manhood, it is told through Dorothea’s eyes. Benning convincingly portrays the full emotional gamut of the single mother of a teenage boy: overwhelming love; confusion; anxiety; and struggling for, while steadily losing, parental authority. Zumann is wonderful in his role, balancing premature worldly wisdom, innocence and youthful passion for life. The film’s plot is as laidback as the era it depicts, but the characterisation and performances have depth and sincerity.

This film challenges the popular wisdom that a boy needs a father to make him a man. Jamie’s emerging masculinity is femo-centric, emotionally sensitive, open and responsive. In one sense, this coming-of-age story is as stereotyped as any other because of the way it portrays tension between gender differences. But it inverts the usual ‘boys are active agents/girls are passive victims’ binary. In a world where traditional definitions of family are under constant debate and renewal, this film adds another viewpoint on how to teach young males to respect females. While it is an entertaining and engaging comedy-drama, it also asks serious questions about how is it that in the 21st century we still raise men who commit violence against women.Hide


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The Press Reviews

  • Love and loss go hand in hand in "20th Century Women," a funny, emotionally piercing story about a teenager and the women who raise him. Full Review

  • 20th Century Women is irreducible ... although certain adjectives and adverbs do leap to mind: generous, reflective, absolutely delightful. Full Review

  • When 20th Century Women concerns itself with the utterly human question of personal satisfaction, it's huggable: the kind of movie you wish more directors had the courage to grab for. Full Review

  • "20th Century Women" is an endless chain of anecdotes, and though many individual moments are winning, the movie as a whole is rudderless. It never achieves an emotional power surge. Full Review

  • Mills's world is certainly not devoid of pain, but it's leached of bitterness, leached of conflict, leached of aggression, leached of hostility; the pain and the trauma are leached of consequence. Full Review

  • A simply glorious Annette Bening leads a stellar cast in Mike Mills' semiautobiographical story about a bohemian women raising a teen in the age of 1970's feminism and punk rock. Full Review

  • It's a nice film with some great moments but Mills' touch is too tentative to make all that talk buzz and hum as resonantly as it should. Full Review

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