Currently Browsing: WomenMakeFilm
Set on the Uruguayan coast, Lucía Puenzo’s XXY (2007) tells the story of a 15-year-old intersex person, “Alex” (Inés Efron), who has been living as female and suppressing the development of masculine features with medication. At the start of the film, she has stopped taking this medication and begins to explore her sexual identity while trying to cope with the difficulties that come with living outside of the classifications that society assigns us.
For me, Márta Mészáros’ Adoption (1975) crashed over me in a wave. In this Hungarian black and white film, 43-year-old factory worker “Kata” (Katalin Berek) desperately wants a baby. When her married lover “Jóska” (László Szabó) rejects the idea of having one together, Kata looks into adoption. During this time, she grows close to the orphaned teen “Anna” (Gyöngyvér Vigh), who wants to leave the orphanage and marry her love “Sanyi” (Péter Fried).
Fourteen years prior to Bigelow’s win, another female director of a feature film was also awarded the golden statuette. In 1996, writer and director Marleen Gorris won the Best Foreign Film category for her feature Antonia’s Line. If we’re talking about firsts, then this is absolutely another one to permanently inscribe upon our memory.
TCM will feature films from 12 decades—and representing 44 countries—totaling 100 classic and current titles all created by women. Read more about this here!
The war comedy is an odd genre, considering the subject material it attempts to make humorous. When I’ve see war comedies based on the American military, I’ve often liked or disliked the movie based on what opinion of the American military it was trying to put forward.… read more.
A Window to Another Culture: Davaa’s ‘The Cave of the Yellow Dog’ Weaves Mongolian Culture into Story
With a sparse plot, Davaa's allows the audience to hone in on the details of a nomadic family’s everyday life in the Mongolian steppes. Through their story, we also learn about Mongolian culture, folklore, religion, as well as the way in which the modern world encroaches upon these elements of nomadic life. Furthermore, through a film such as this, we can learn implicitly; Davaa does not merely tell us about the Mongolian lifestyle, but invites us into the family’s actions while weaving their culture into their speech and thinking.
Amidst newspaper stacks and overfilled bookshelves, “Mithat” (Mithat Esmer) sits alone in his easychair. He wears a face of wearied determination as if he’s just been served an ultimatum, which he has. According to the authorities, he has only a few weeks to clear out of this apartment so that the building can be demolished and rebuilt. As the weight of this news settles in, I hear only the mismatched ticking of dozens of clocks. The sense of urgency they carry insists on being felt, and I oblige.