Category Archives: Female Filmmaker Friday
This week on the Female Filmmaker Friday podcast writer and Surrealism researcher Sabina Stent joins me to talk about the work of experimental filmmaker Maya Deren (and cats!).
This week on the Female Filmmaker Friday podcast film writer Monica Castillo joins me to talk about the work of Afro-Cuban filmmaker Sara Gómez.
The Female Filmmaker Friday podcast is back! If you missed it, you can listen to the inaugural episode on Jane Campion here. This week Lady P. from Flixwise joins me to talk about the one and only Ida Lupino!
I’m excited to announce that the Female Filmmaker Friday podcast has joined the Battleship Pretension fleet of podcasts. Check out the others here. Also don’t forget you can subscribe (and rate!) in iTunes.
I’ll be traveling for the next few weeks, so look for Episode 3 sometime in October, when I’ll be joined by Monica Castillo to talk about Cuban filmmaker Sara Gómez.
I’m very excited to be bringing Female Filmmaker Friday back! This time, however, it’s back in the form of a podcast. To launch my very first podcast I decided I must start with one of my favorite film directors: Jane Campion! I really love her work and it was so much fun to talk about her filmography with two of my favorite film lovers: Justine Smith and Kristen Sales! I hope you enjoying listening to this conversation as much as I did having it!
Check back in two weeks when Lady P from Flixwise and I discuss the work of Ida Lupino!
As I announced last week, next year I will be only watching films directed (or written) by women. This means films in theaters, as well as those I watch at home (new-to-me and re-watches). You can see the entire year of Female Filmmaker Friday pieces here. This feature will not be continuing, as my entire year will be spotlighting films by women. I thought for my final Female Filmmaker Friday for the year, I would list out all the films by women I watched in 2014, which comes to 46 out of a total 361 so far this year:
- News From Home (1977) – Chantal Akerman
- Desperately Seeking Susan (1985) – Susan Seidelman
- Making Mr. Right (1987) – Susan Seidelman
- Cookie (1989) – Susan Seidelman
- Smithereens (1982) – Susan Seidelman
- Ritual in Transfigured Time (1946) – Maya Deren
- That’s What She Said (2012) – Carrie Preston
- Starstruck (1982) – Gillian Armstrong
- She-Devil (1989) – Susan Seidelman
- The Pretty One (2014) – Jenée LaMarque
- Orlando (1992) – Sally Potter
- Miele (Honey) (2014) – Valeria Golino
- The Decline of Western Civilization Part II: The Metal Years (1988) – Penelope Spheeris
- The Decline of Western Civilization (1981) – Penelope Spheeris
- The Decline of Western Civilization Part III (1998) – Penelope Spheeris
- Belle (2014) – Amma Asante
- The Bride Wore Red (1937) – Dorothy Arzner
- Décalage horaire (2002) (Jet Lag) – Danièle Thompson
- Palo Alto (2014) – Gia Coppola
- Obvious Child (2014) – Gillian Robespierre
- Used People (1992) – Beeban Kidron
- Los insólitos peces gato (The Amazing Catfish) (2014) – Claudia Sainte-Luce
- Sweetie (1989) – Jane Campion
- The Prince of Tides (1991) – Barbra Streisand
- Night Catches Us (2010) – Tanya Hamilton
- Middle of Nowhere (2012) – Ava DuVernay
- Small, Beautifully Moving Parts (2011) – Annie J. Howell, Lisa Robinson
- Serious Moonlight (2009) – Cheryl Hines
- Hester Street (1975) – Joan Micklin Silver
- Something New (2006) – Sanaa Hamri
- Advanced Style (2014) – Lina Plioplyte
- Un jour Pina m’a demandé (One Day Pine Asked) (1983) – Chantal Akerman
- Enough Said (2013) – Nicole Holofcener
- Fort Bliss (2014) – Claudia Myers
- Nirgendwo in Afrika (Nowhere in Africa) (2001) – Caroline Link
- Love & Basketball (2000) – Gina Prince-Bythewood
- Carrie (2013) – Kimberly Peirce
- Laggies (2014) – Lynn Shelton
- Monkey Rag (2013) – Joanna Davidovich
- Beyond the Lights (2014) – – Gina Prince-Bythewood
- A Girl Walks Home Alone at Night (2014) – Ana Lily Amirpour
- The Bigamist (1953) – Ida Lupino
- Elle s’en va (2014) – Emmanuelle Bercot
- Zero Motivation (2014) – Talya Lavie
- The Babadook (2014) – Jennifer Kent
- Selma (2014) – Ava DuVernay
Lastly, I’m just going to see you better go see Selma if you’re in one of the four cities it’s currently playing in (L.A., NYC, Atlanta, D.C.) and if you’re not, go see it when it opens wide on January 9th.
Full disclosure: I have not actually read Louisa May Alcott’s book (it’s the first thing I am going to read in 2015, though.) I have, however, seen Gillian Armstrong’s masterpiece more times than any other movie. I first saw it when it was in theaters. I went with my mother and we both loved it so much and when it was over she told me all about how much she loved the book (and its sequel), and yet for some reason I still haven’t read the book! *holds head in shame* This movie celebrates its 20th anniversary on Sunday and as far as I can tell the studio that has the distribution rights doesn’t give a hoot and isn’t doing anything for it; no anniversary Blu-ray, no anniversary screenings in LA, nothing! So I thought I would pay tribute to this beautiful film by writing about it for Female Filmmaker Friday right around its anniversary.
I’m not sure if I saw this first or the first film adaptation of Robert Nathan’s book, 1947’s The Bishop’s Wife (with one of my favorite Cary Grant performances!), but I did watch this movie A LOT in the late-90s when it was on TV all the time (I think TBS?) I did, however, have no idea that Penny Marshall directed it until I noticed it was on Netflix last week. I decided it was time I revisited this film (not the least of which because Denzel Washington is so goddamn charming as Dudley!)
I wanted to see this film when it was in theaters earlier this year (I’m calling it a 2014 releases because that’s its U.S. release date; sue me), but somehow I missed it and was really bummed. Then the other day I was looking for something to watch on Netflix and it was in the suggested list! Sometimes Netflix gets it so right! This is Emmanuelle Bercot’s third film (she started out as an actress). I haven’t seen her other films, though I want to because this film had a very distinctive tone and I’m curious to see if her other films feel the same. She wrote this script specifically for Catherine Deneuve and it’s wonderful to see the actress really tear into the material.
I read about this film in a book that traced the history of Los Angeles’s Bunker Hill in the movies (mostly focusing on film noir) and this film was mentioned because Lupino filmed several scenes in that neighborhood. After I saw the synopsis and the cast (Edmond O’Brien, Joan Fontaine and Ida herself), I just had to watch it. It’s a great drama (with film noir elements; I think you could definitely make the case that it is noir) about a man who finds himself married to two women.
Somehow I didn’t see this movie when it was first in theaters. I have no idea why not, since I was a senior in high school when it came out and went to the movie theater in my hometown practically every weekend. I do, however, remember when I first saw it. It was about a year after it originally came out, when I came home to visit during winter break after my first semester at UC Berkeley. It was exactly the kind of escapist rom-com that I loved when I was a kid and it was exactly what I needed after a tough first semester. NB: writer-director-producer Audrey Wells is also a Cal alum. Go Bears! I subsequently bought the DVD about a year later from the Walgreens on Shattuck on a rainy day and proceeded to watch it once every few weeks for the rest of college and then some. I’m really not sure how many times I’ve seen it (including the few times I watched it on TV!) I love it so much. This is a Best Friend kind of movie. Comforting and warm and dependable, but every time I watch it I notice something new to love.