Call Jane - BFI London Film Festival

In Chicago, 1968, content housewife Joy is happily married with a teenage daughter when she finds out that her latest pregnancy is endangering her life. The only way to keep Joy alive is to have an abortion which the all-male board of the hospital deny her. Desperate, she tries to have an abortion illegally but instead happens on a notice that says ‘Pregnant and don’t want to be? Call Jane’. After having the procedure done safely, Joy is drawn to the group of activists who seek to help as many women as possible. But as abortion is still illegal, Joy understands and takes the risks, becoming an integral part of the organisation.

Full review over at Filmhounds HERE.

Watch List 2021

 

It’s been yet another strange year, in general and for film too. Having stopped posting my monthly watch lists, which I thought weren’t needed anymore, I didn’t want to miss out on the year round up or rather what I feel are my top films from the year. Unlike like every other year, I haven’t been able to get to the cinema as much as I usually do. Even during 2020 I managed to see the ‘big’ and festival films. This year however, with a mix of virtual and in person events, I haven’t seen all I wanted. Including not making it to all the festival films I wanted. This list comprises of those that were released this year. There are a few omitted because they are released in cinemas/online next year and will most likely appear on my list in December 2022. 

Having forced to be more select, due to availability and the films being on at the cinemas near me, I saw all these films online rather than a cinema. This also meant I missed out on more of the big blockbuster films which is why they don’t appear on my list. I absolutely loved The Suicide Squad but I felt that it wasn’t as good as the other titles on the list.

This was always going to end up on my best films of the year list, although I saw this in 2020, the film was officially released in 2021. The sheer brilliance and captivating character of Cassandra and her request for revenge is poured out HERE if you care to relive this film with me. 

Another early in the year favourite that had stuck with me throughout. A horror story with a thriller twist and fascinating character at the centre of it all. I got to talk to the director Jill Gevargizian which gave me more insight into the filmmaking and creation, which is maybe why I love this film more than other female fronted films this year. Interview in full HERE as well as the review HERE. 

As a very avid fan of Tove Jansson and her Moomin books, I was of course very excited to see a film about her life. A very specific part of her life is explored in the biopic and love hate relationship with her own creations as well as her broken heart over her first love affair. The review in full can be read HERE. 

I have been meaning to write a full post dedicated to this great film but I could never quite capture the glee and joy I had watching this film about female friendships as well as teenage rebellion that didn’t feel cliché. Plus, the use of zines and riot grrrl camaraderie was always going to be a win my eyes, personally. Directed by a favourite of mine, Amy Poehler so I knew this would have an edge to the other teen dramas before and this definitely stands out in the sea of lesser than films. 

Story aside, because who can resist a film set entirely at a wake where a young woman is trying to hide several lies, she’s told to several people, plus avoiding certain people and try to find out more about the older guy they’ve been sleeping with, all in a closed environment, its brilliantly executed but truly, it’s the soundtrack that gives this film the perfect horror like atmosphere. If you want to read more, full post is HERE. 

Based on a true story recounted on Twitter, enough said. This was either going to be a hard sell or the best film adapted from said Twitter story. There’s nothing quite like it. Read more about the film HERE. 

 

With the video nasties of the 80s as a backdrop to this sinister story about a censor who believes her long lost sister is in of these horror films, reality is blurred with hallucinations and dreams. It was great to be back in the cinema for a special event after such long time. The entire post can be read HERE. 

Having no clue what this film was about except that I had been very excited to watch it, this slow twist thriller was one that exceeding my expectations. My spoiler free as possible post is HERE. 

Like most films this was pushed back and there was a worry we wouldn’t even get this in the cinemas. A science fiction saga spectacle deserves space, especially such a story as this. Although the books by Frank Herbert have been adapted before, they hadn’t had the Denis Villeneuve treatment and going by his previous sci-fi films this was the right director to bring this story of spice, warmongering houses and chosen ones to the life. It was exciting to see such an epic back on the big screen again, perfectly timed it turned out to celebrate the 20th anniversary of The Fellowship of the Ring, the film that brought back the epic and changed the landscape of cinema. Dune feels like its going to be the start of something spectacular. 

 

I feel like I’ve been writing about this film for months (I actually have). The film that shook Cannes, the film that will shock you and all that PR jazz, this film is fantastic, do believe the hype. Read more about it HERE.

If anyone is interested, I have zines for PROMISING YOUNG WOMAN, THE BETA TEST and TITANE - message me on Twitter or Instagram (@shelikesmovies_)

Cruella, feminist

 

There has been a multitude of controversies surrounding Disney films for years but in the light of the House of Mouse releasing (yet another) live action story, this time about notorious villain and Queen of murderous fashion Cruella DeVil, a few new controversies need to come to light. As we all know, Cruella isn’t the nicest person you’ll meet, she does like killing animals for their skin and fur but it could also be argued that she is a feminist and has been the whole time.

In the live action Disney adaptation of ‘One Hundred and One Dalmatians’ released back in 1996, Cruella is introduced, dressed head to toe in fur but with a distinct style that feels lifted from the screen of a classic Hollywood film. She saunters to her office but stops at Anita’s workstation, mesmerised by the drawing but also, her talent. This first conversation between the characters is eye opening. Cruella asks Anita what she wants from her career, where she sees herself in the future, she wants to offer her opportunities, she wants to lift her fellow woman up. But Anita, when replies she wants to quit her job once she’s married as that is her goal in life, Cruella says, “More good women have been lost to marriage than to war, famine, disease and disaster. You have talent darling, don’t squander it.” Hearing those words at 7 years old meant nothing, hear those words at 31 years old, you immediately recognise who Cruella is. She is a feminist but she’s also a villain, a Disney villain. This is a message that Disney continuously sends out in their films.

The idea that a single woman in power is someone not be trusted and therefore vilified isn’t a new concept for Disney. Obviously, many of the studios’ films are adapted from fairy tales and folktales where women don’t come off as the heroine often at all. The women are witches, wicked step mothers, spinsters, shapeshifters, independent thinkers, they are the alternative to the normality. Through adaptations, these poisonous messages can be amended but Disney have chosen to go down a different path.

Back in 2018 it came out in an interview with Ellen DeGeneres, Keira Knightly said that she doesn’t allow her daughter to watch certain Disney films. Not adhering to the ‘damsel in distress’ story that makes it seem that girl’s lives are only complete when a man comes along to save them. Knightly did say that although she loves ‘The Little Mermaid’ she though it sent the wrong message to young girls. Ariel literally gives up her voice to be with a man who may or may not feel the same way about her. The response to Knightly’s decision was split between those who watched Disney when they were younger but can still differentiate between a fairy tale and how to act in real life and those who believe that some Disney films and the values they portray are outdated. Newer films such as Tangled, Frozen and Moana have been mentioned as progressive and moving beyond the simple Princess needs a Prince story trope. But really only Moana has gone further, with a story about a young woman on a self-discovery journey as one to save her community and family. She doesn’t have a love interest and nor does she need saving herself, but while watching the film, these story elements are not even missed. But before there was Moana, Ana, Elsa and to an extent, Judy Hopps, the Princesses and heroines of Disney faced off against the ‘other’ women. Disney making the main character a feminist, or as feminist as they are willing to go, has only been a recent development, before it was the villains who embodied these ideals but cloaked in evil deeds and wicked characteristics.

In the latest Disney efforts, the idea that Cruella is a feminist is continued. This story is about how Cruella came into being, having always had a ‘wild side’, she embarks first in a life thievery then breaks into the world of fashion. Her career is the most important thing, that is until she is consumed by revenge. The antagonist of the story is the Baroness, a wealthy and iconic fashion designer who rules her company with an iron fist. It is revealed she is responsible for the death of Cruella’s mother as well as other deep dark secrets (SPOILER) that is in fact Cruella’s birth mother and had actually ordered a servant to kill her as a baby would interfere with her own career. Of course, we know Cruella evolves into the dog hating, animal killing villain we love and adore but this new development that Disney dives deeper into the ‘feminist=villain’ trait with the Baroness. Not to say that the Baroness is actually a feminist but she shows signs she could be if she wasn’t so cold hearted. But the dig about her wanting to kill her own child just so she can have a career is, absolutely, ridiculous. This new story avenue paints Cruella in a different light yet she is still a villain at the end of the day even of she does want to elevate Anita’s career and she’s chose not have a conventional family. If Disney had chosen to mine these personality traits and given her a different background, her feminist ideals might have had a positive beginning, but no, villains must stay on a certain path and mustn’t deter from the formula.

 

Promising Young Woman

 

From the moment those panic-stricken strings start playing ‘Toxic’ by Britney Spears in the trailer, you can already feel that you’re in for an unexpected treat. The promise that there will be revenge, hard truths and more than backlash for deeds unpunished all packaged up in a cynical and rather bitter yet forceful nature of one woman who is determined to see justice done is definitely fulfilled in the feature.

 

Cassandra is 30, lives at her parents, works at a coffee shop having dropped out of medical school some years previous. She spends her days chatting to her boss and seemingly only friend and her nights out at clubs and bars pretending to be drunk to see if she can ensnare a ‘nice guy’ who usually offers to take her home but then quickly takes advantage. She catches them out, with varying results. But when someone from her college class appears back in her life with some interesting news, she becomes a woman on a mission to bring justice to those who wronged her best friend, all those years ago.

 

My full review can be read in the latest issue of Filmhounds, buy your copy HERE. 

Lucky

 

After self-help book author May and her husband Ted are attacked at night by a mysterious man in a mask, she is left in shock by the attack but Ted just shrugs the incident off mentioning it happens every night. But when the masked man returns, even after May has killed him multiple times, she tries to figure out why this keeps happening. Things take another turn when Ted goes missing and other women in her life share the same scares as her.

Full review is over at Filmhounds HERE. 

Zine Scene

Leading up to my blog's 10th Anniversary, I had hoped to reveal or start something bigger than planned but I'm still quite please with what's coming. Hopefully it will be coupled with a change of scenary but until March 17th (yes, I know that's St Patrick's Day, it just so happened that way) I can show what I've made in the last few months.

Usually I pick a film I've written a longer piece about but for the last two I chose because both films were made by women, with female characters front and centre. I loved both films for different reasons and wanted to celebrate further. The zines are just something I enjoy doing if you're curious as why I make them. I'm hoping I can add PDF versions to my blog or website in the near future so everyone can see them and not just the lucky few who get physical copies.

Back in October, I was lucky to see Saint Maud again in the cinema and with a socially distanced full room. It was a great experience and thinking back it really makes me miss cinema more and more. I made a zine to celebrate the film further at the end of last year, one I'm really proud of.

Both films have received nominations at various awards. Waiting for the BAFTA nominations to come out but I'm really hoping both get some recognition.  

Kim Ji-young, Born 1982 - London Korean Film Festival

How does a story about a house wife and stay at home mum who suffers from depression become one of the most talked about books in its home country? It was just because it was gifted and discussed between politicians. It was through word of mouth, reviews and social media the book was shared but the story is far more than its one liner synopsis. Hailed as being an important feminist book in Korean and equally despised by anti-feminists when the book was first released, the argument has been renewed with the release of the film adaptation, finding a new audience to experience this familiar yet phenomenal story.

 

Kim Ji-young, wife and mother, gradually falls into a routine of keeping house and caring for her daughter but underneath something changes. Her husband, worried that she is suffering from postpartum depression encourages her to rest and even seeks out advice from a psychiatrist when Kim Ji-young begins to act as if possessed by other people. Meanwhile Kim Ji-young yearns to return to work, seeking out possible ways for her to be able to. Interweaved into the narrative are flashbacks to when Kim Ji-young was younger, at her old job and when she was first married, painting a picture of all the everyday sexism she experienced. 

 

There are so many moments in the film that any woman, even if they hadn’t personally experienced it, would instantly understand. There is a universal feeling of fear and dread as well as light hearted scenes between the female characters, carefully balances what it is like to be a girl or woman without bombarding the core narrative with an agenda. The story lays bare truths that are usually left unspoken in other films, that are desperate and powerful at the same time. Sometime hysterical crying is needed, especially when Kim Ji-young’s mother, Mi-sook, breaks down and yell at her husband in disgust about how he treated his son better than his daughters. It’s not a turning point but no means but it shows the frustrations of the women in the film and society.

 

Another aspect of the film to be admired is how Jung Dae-hyun, Kim Ji-young’s husband reacts to her behaviour and how he tries his best to support his wife. His struggle with how to tell his wife how she has been behaving doesn’t overshadow her own challenges but his part in the story is important. Even though he makes mistakes and doesn’t quite understand certain things, he doesn’t stop trying to be better and understand what she also needs. There is a particular moment where Jung Dae-hyun cries in front of his wife, which is as powerful a moment as Mi-sook’s breakdown. This is rarely seen in films, it’s refreshing to see this included in the character and story.

 

Kim Do-young’s adaption of Cho Nam-joo’s novel feels as if it will continue the important conversations that started with the book’s release. Hopefully making sure issues explored will not be absent from the media. The story and characters linger in the mind long after the credits have rolled which gives hope that this story will remain timeless and change the way we think.

As this was just a teaser screening from the London Korean Film Festival, we can look forward to a full programme and further screenings in October from the festival.

Novelist, Mime, Actress and Journalist

What a way to start the new year with not one, not two, but THREE British films and all period costume dramas AND all based on real people. What are the chances of that? Having been lucky to see both The Favourite and Colette at LFF last year, I will hopefully be catching Stan & Ollie later this week.

There are far too many stories about women who have propped up men's careers at the expense of their own, fictional or otherwise and say this not as someone who is fed up about hearing about them, but as someone who is appauled that there are just so many. 'Colette' is no different on the surface, as it tells the story about Gabrielle Colette who married Henry Gauthier-Villars, 14 years her senior, famous writer known as 'Willy'. With ideas at his 'factory' drying up, Willy persuaded his wife to write, thus creating the 'Claudine' series. But as Willy was the famous writer, all the novels were published under his name. As 'Claudine' rose to such famous heights, books sold out in bookshops everywhere, the novels adapted into a stage play, her picture on products aimed at young women, Colette wished for her named to be credited alongside her husband's, which he refused.

'Colette' explores her early married life with Willy, her twenties where she created Claudine, the success of her work and her wish to be acknowleged as the writer as well as her strained marriage with Willy, who, a know libertine, had affairs and even encouraged Colette's own affairs with othe women. It would seem that this story doesn't aim to shock but to witness Colette's flurry of creative and sexual desires. She experiences a sort of freedom when she writes about a ménage à trois between herself, Willy and a married woman, even though it seems as if her creative alliances come crashing down for a moment at the thought of her books being burnt. The film is occupied with three main things, Colette's beginnings as a novelist, her marriage to Willy and her burgeoning sexuality. With the author blurring the lines of her fictional character, Claudine's exploits, as the books were inspired by truth, Colette is in danger of being swept up with the Claundine hype. Her choice to take to the stage seems an odd career choice and more of a creative release.

Needing and wanting a release feels like the real theme of the story, rather than Colette just wanting recognition for her work and her husband taking all the credit. It would have been interesting to see what happened to Colette, post marriage breakdown and post Claudine, as she continued to write, most famously, 'Gigi', which was adapted and made into that 50s musical about a young girl who is being groomed to become a courtesan. But do not think that this film falls short of his dramatic and biopic service, it has a great cast, actually welcoming to see Keira Knightly back in a role that suits her perfectly and Dominic West bringing the house down with his awful obnoxious Willy. A story with more to tell and true heroine that has far more to her that what we see on screen.

#LFF