Image via miff.com.au
I have no idea what this film is about. If there were signs of a meaning, I missed them and felt confounded as the credits rolled. Continue reading
Tower. A Bright Day (2018)
StandardTag Archives: female directors
A Woman Captured (2017)
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You know that the story of a woman being kept essentially as a slave in contemporary Hungary is going to be hard-hitting. Filmmaker Bernadett Tuza-Ritter does an outstanding job of inserting us right into the exhausting day-to-day existence of Marish. Continue reading
Yours in Sisterhood (2018)
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An intriguing albeit flat documentary by Irene Lusztig, Yours in Sisterhood has contemporary women reading unpublished letters sent to Ms magazine in the 1970s. Continue reading
Mug (Twarz) (2018)
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Not as blackly comedic as I was expecting, more bleakly tragic, Malgorzata Szumowska’s Mug doesn’t hide its overt criticism of the hypocrisy of religious complacency, as shown by the narrowmindedness of the people of a rural Polish town. Continue reading
I Used to Be Normal: A Boyband Fangirl Story (2018)
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The Bay City Rollers was my boyband obsession. Tartan scarves were banned from my primary school because we used to wear them tied to our wrists to show our devotion. My cousin called them the Bay Shitty Rollers, just to annoy me. Continue reading
Dark River (2017)
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This one was a last minute swap when I couldn’t face racing to Hoyts to be potentially disappointed by Robert Pattinson in the farcical, some say feminist western Damsel. That’s one of those films that can be a delight or a travesty and I didn’t feel like risking it. Dark River was a good choice. Directed by Clio Barnard it’s a dark and brooding tale of abuse as seen through the eyes of a survivor. Continue reading
Fugue (Fuga) (2018)
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Agnieszka Smoczynska’s credentials as the director of 80s musical about killer mermaids The Lure, got me along to Fugue, her next feature. They couldn’t be more different in tone and style but both have stories that recast women out of familiar stereotypes. Continue reading
Scary Mother (2017)
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Blending just the right amount of bleached Eastern European realness with surreal metaphor, Scary Mother is a dark and brooding tale of female autonomy. Continue reading
Lost in Paris (Paris Pieds Nus) (2016)
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Jacques Tati lives on in this featherlight slapstick farce from duo Fiona Gordon and Dominic Abel. Continue reading
Pitch Perfect 3 (2017)
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Better than Pitch Perfect 2, not as great as the original. That’s pretty much all you need to know. Continue reading
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