I decided for the month of January I’m going to stay in the 1980s for Female Filmmaker Friday, and since this film will be airing on TCM next Monday (1/21/19), I thought now would be the perfect time to look at Kathleen Collins’s groundbreaking independent feature Losing Ground. You can buy this film on DVD or Blu-ray (and I recommend purchasing directly from Milestone Film’s site so you can support their amazing work), which includes a bunch of special features, including her first film The Cruz Brothers and Miss Malloy (which I still need to see!). I first saw Losing Ground in 2015 during A Year With Women when it was aired as part of TCM’s inaugural Trailblazing Women spotlight. It has since become one of my favorite films.
For this week’s Female Filmmaker Friday I’ve chosen a film I first saw on TCM during A Year With Women, and that I have subsequently re-watched many, many times: Joan Micklin Silver’s Crossing Delancey. The film is based on a play by Susan Sandler, who also wrote the screenplay. Much like Susan Seidelman’s Desperately Seeking Susan, this film captures an era and place in New York City that no longer exists. Featuring a score by the Roches, much of the film takes place in the Lower East Side. This article does a great job of breaking down the changes that have happened in the last thirty years to that neighborhood. There be spoilers after the cut.
In 2014, I launched a series called Female Filmmaker Friday, where I wrote about a film directed by a woman almost every Friday for almost the entire year. This in part inspired my A Year With Women project where I only watched films directed or co-directed by women for the entirety of 2015. In 2016, Female Filmmaker Friday made a brief comeback as a podcast, though that was also short-lived. Finally, I am excited to announce that I will be bringing Female Filmmaker Friday back as a regular feature on this blog. For its auspicious return I have chosen one of my all-time favorites, one that has become far more readily available in the last few years: Donna Deitch’s Desert Hearts.
2018 was quite a year for me. I travelled a lot for work. I watched a lot of films in festivals. I had some of my lowest film watching months and some of my highest. I got into a bunch of television shows. I met one of my favorite directors of all time (Gillian Armstrong!). I broke down a lot of my 2018 cinematic shenanigans on my 9th blog anniversary post here, you can see my monthly breakdowns here, my Favorite Fifteen Films of 2018 here, and I even broke down my favorite new discoveries here over on Rupert Pupkin Speaks. What does that leave??? After the cut I have all of the films I saw in 2018, plus a breakdown of the films directed by women that I saw for the first time this year.
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.
Isn’t that exciting?! I’ve got a really big announcement to make, but first I want to run through a few highlights of this last year.
I’m starting a new feature on the blog (I’ll bring Oscar Vault Monday back soon, I promise!) wherein I will discuss (sometimes at length, other times just with something brief) films directed by women. Sometimes I’ll talk about some of the bigger names and bigger films (Jane Campion, Nora Ephron, Kathryn Bigelow, Sofia Coppola), but mostly I will be focusing on smaller, lesser known films directed (and often times written) by women.