Two Black Women Filmmakers with a Budget: Mudbound (2017) and A Wrinkle in Time (2018)

I concede this is a fairly tenuous connection to make in order to lump together reviews of these recent films by two of the most successful of recent Black women directors, but I wanted to give them some attention during my week of Black American women filmmakers, despite having reviewed already a good number of their more famous works.

Obviously Ava DuVernay has become the most well-known of the two, primarily for Selma (2014), but she made some low-key dramas like Middle of Nowhere (2012) and I Will Follow (2010) which I like even more, as well as documentaries starting with This Is the Life (2008) but recently the high-profile 13th (2016), and graduated to the big budgets with this Disney-produced fantasy adventure film.

Meanwhile, Dee Rees made a splash with one of the best coming-of-age movies of the decade, Pariah (2011), before turning her attention to the (in my opinion) underrated biopic of Bessie Smith, Bessie (2015). Her budget for her World War II-set period drama Mudbound may only have been a fairly modest US$10 million, but you can see a lot of that up on screen, one of the earlier films in Netflix’s recent run of big prestige productions which have had some crossover between online streaming and big screen presentation.

Continue reading “Two Black Women Filmmakers with a Budget: Mudbound (2017) and A Wrinkle in Time (2018)”

江湖儿女 Jianghu Emu (Ash Is Purest White, 2018)

So Long, My Son, a new Chinese epic drama by director Wang Xiaoshuai, opens in UK cinemas today — a film I saw at this year’s London Film Festival. At last year’s LFF I saw another Chinese film, which opened in UK cinemas earlier this year, the latest by Jia Zhangke. I did a big post of four of Jia’s films yesterday, but his A Touch of Sin is up there amongst my favourite of the decade, even if his previous film Mountains May Depart didn’t thrill me quite so much. Still, he has plenty to say about modern Chinese society, and continues to work closely with actor Zhao Tao.


Jia Zhangke has always been making films that concern themselves with the enormous shifting forces in society, economic change and capitalist exploitation tied into enormous infrastructural projects of change and development of particularly our urban landscapes. It just feels like more and more he’s tying them to individual stories that don’t always feel like they have the expansiveness to sustain this kind of thematic weight (though his films remain epic in length and sweep at least).

This story is about a woman (played as ever by Jia’s long-time collaborator Zhao Tao) in love with a small-time local gangster (Liao Fan). She goes to jail for five years for pulling a gun on some thugs who are trying to beat him up, but he doesn’t stick around for her. It’s a film that stretches over about 17 years of time (from 2001 to the present), marking its passage of time not by title cards but by small changes like the use of mobile phone technology (or by large ones, like the sudden presence of huge modern development projects in the heart of a northern city like Datong), and, surprisingly to me, has quite a few laughs in it too.

If I’m not always convinced that the running time and tripartite structure is exactly earned by these characters’ lives, there’s still plenty of detail in its depictions of the changing Chinese landscape and economy to reward a viewing, and the performances are excellent as ever with Jia’s films.

Ash Is Purest White film posterCREDITS
Director/Writer Jia Zhangke 贾樟柯; Cinematographer Eric Gautier; Starring Zhao Tao 赵涛, Liao Fan 廖凡; Length 136 minutes.
Seen at ICA, London, Saturday 13 October 2018.

嘉年华 Jia Nian Hua (Angels Wear White, 2017)

Following my review of Dead Pigs earlier today, another recent Chinese film to make waves, and not just because it was the only film directed by a woman in competition at the prestigious Venice Film Festival in 2017, is this one, Angels Wear White. In it second-time director Vivian Qu challenges sexually predatory men within Chinese society, part of what is implied to be wider corruption at the heart of the society, and a welcome challenge no doubt.


There’s a lot of discussion these days (and rightly so) about the destructive effect of sexual violence within patriarchal and authoritarian power structures can have on young women, and this film is a fine example of a situation in which institutional deficiences fail the people society is supposed to protect. It sets up a scenario involving a number of characters, each of which has their reasons for overlooking or excusing a horrific crime (the rape, not seen on camera, of two young girls by a corrupt police official). In many ways this is the same setup as another film I saw in the London Film Festival the same year (Beauty and the Dogs) but it’s done far more sensitively to my mind. The girls’ point of view is necessarily laconic, but we see their parents find reasons not to press charges, preferring to think about payouts and education in an area deprived of resources for this, while another strand follows a witness to the crime: a slightly older girl who has similarly been mistreated, having run away at a young age and is now living without the necessary government ID required to receive any support, doing menial cash jobs for little reward. In many ways she represents the younger girl a few years later, having toughened up and run away to a bigger city, but still prey to predatory men hanging around, offering the basic necessities of life in exchange for money or favours. It’s a corrupt society, no mistake, only exacerbated by the literally enormous metaphor of female sexuality on high heels that stands overlooking the seaside resort where it’s set.

Angels Wear White film posterCREDITS
Director/Writer Vivian Qu 文晏; Cinematographer Benoît Dervaux; Starring Vicky Chen [or Wen Qi] 陳文淇, Zhou Meijun 周美君; Length 107 minutes.
Seen at Curzon Soho, London, Thursday 18 October 2018.

海上浮城 Haishang Fucheng (Dead Pigs, 2018)

One recent talent to have emerged from film festivals — and who has already been attached to direct the new Harley Quinn DC superhero film, Birds of Prey — is Cathy Yan, who was born in China but has studied and worked for much of her life in Hong Kong and the USA. She returned to China to make her feature film debut, basing it around the enormous international city of Shanghai, as a sort of microcosm of the kinds of changes she wanted to satirically skewer.


There’s no doubt that debut feature filmmaker Cathy Yan is trying to pack a lot in here — like many modern Chinese films, it’s about the toxicity (literally, for the pigs) of modern venture capitalism, speculative building developments wiping away old communities, about changes to jobs especially for land-based occupations (like farming), about class and wealth differentials, and a whole lot more. Therefore, it can’t help but feel a little hurried at times, and a little bit busy, but for the most part I enjoyed it. The colours are bright, and the performances are sparky and watchable — not least Vivian Wu’s intractable yet stylish aunt, and Meng Li as a rich young woman looking for something more. Also, it has a karaoke singalong towards the end (though sadly nobody took part in my audience).

Dead Pigs film posterCREDITS
Director/Writer Cathy Yan 閻羽茜; Cinematographer Federico Cesca; Starring Vivian Wu 邬君梅, Li Meng [or Vivien Li] 李梦, Yang Haoyu 杨皓宇, Zazie Beetz; Length 130 minutes.
Seen at Curzon Soho, London, Thursday 18 October 2018.

Two Comedy-Drama Films by Andrew Bujalski: Funny Ha Ha (2002) and Support the Girls (2018)

Getting his start amidst the lo-fi low-budget talents of the so-called “mumblecore” movement in American indie cinema, Andrew Bujalski has somewhat carved his own place among filmmakers, progressively moving into territory both more quirky like Computer Chess (2013) or more mainstream with Results (2015). His most recent film (which I touched on in my London Film Festival 2018 round-up) has been his most polished — and somehow also most emotionally resonant — film yet, but he likes to dwell in the sometimes uncomfortable territory between comedic and dramatic registers, wringing laughs from his characters even as their situation seems a little more desperate.


Funny Ha Ha (2002)

Stylistically speaking, this seems like a quite different Andrew Bujalski from the one who made the recent Support the Girls (see below), but the sort of loose, improvisational, almost documentary-like style he uses here is very familiar from a lot of contemporary lo-fi filmmaking around the world. It’s all in that awkward staccato of campus conversation, as our protagonist Marnie (Kate Dollenmayer) navigates the attention (or inattention) of a bunch of slightly stand-offish dudes, including a particularly annoying one played by the director. I liked the lead actor’s performance very much, which without being flamboyant (or particularly demonstrative) also made it clear where her personal lines were and her feelings towards her ‘suitors’. I think Bujalski only improved at this kind of observational content, and it’s what threads through his filmmaking.

Funny Ha Ha film posterCREDITS
Director/Writer Andrew Bujalski; Cinematographer Matthias Grunsky; Starring Kate Dollenmayer, Christian Rudder, Andrew Bujalski; Length 89 minutes.
Seen at home (Mubi streaming), London, 29 January 2019.


Support the Girls (2018)

I didn’t know who Shayna McHayle was before I watched this film, and it’s her first acting role, but she’s now my new favourite actress. Despite Bujalski’s indie-improv background, this feels like a different arena for him, and yet he brings something of that feeling to this piece. It’s a film ostensibly about one of the bleaker environments gifted to us by American late capitalism (a boob-centric suburban restaurant, or ‘breastaurant’ as it were, a family-friendly place in Texas where the waitresses flaunt their assets), but it does a great job of centring the women in this story, brimming over with generosity and care for the women who effectively run this place. None of the men come off particularly well but that’s perhaps no surprise given the establishment — not all of them are terrible, but there’s a lot of sadness, but then there’s a lot of sadness just generally in the film (even as there are plenty of laughs too).

Regina Hall pulls everyone together as the manager of this joint, who truly cares for and goes out of her way to support her staff, who are all much younger and more easily exploitable by the sleazy men in control, like her boss (played by James Le Gros). This allows for a proper ensemble to form around her, pitched somewhere between comedy and drama, and finding a point of real warmth and generosity of spirit. There’s a clear story about unstable working environments and the kind of culture that leads to. Everyone is great in this, even when things seem to be falling apart for everyone, and it also manages to make its points about the precarious working lives women like the ones seen here have to navigate, and the untold amount of BS they have to put up with (for example the series of little vignettes of the dudes in the bar witnessed by McHayle’s Danyelle towards the end of the film which prompts her to a self-destructive moment). This really is a great actors film, and unexpectedly feel-good all things considered.

Support the Girls film posterCREDITS
Director/Writer Andrew Bujalski; Cinematographer Matthias Grunsky; Starring Regina Hall, Haley Lu Richardson, Shayna McHayle, James LeGros; Length 91 minutes.
Seen at BFI Southbank (NFT2), London, Saturday 20 October 2018 (and again at the Curzon Bloomsbury, London, Monday 8 July 2019).

London Film Festival 2019: My Favourite Films

I’ve written up reviews of all the films I saw over the last twelve days, so you can find them by following the London Film Festival tag, but it’s time to reflect about the festival as a whole, and also rank my favourites of course.

First off, there were plenty of really good films, both in competition (an overall competition, a first feature competition and a documentary one too) and in the galas, and I imagine we should credit that to the festival’s director Tricia Tuttle, whose first year this was at the reins (though she was acting director last year).

However, as with every year, I largely eschewed the big gala screenings as well as films that were certain to return to our screens, with a few exceptions (and these generally rank high in my favourites, because they have buzz for a reason). I prefer to go to films with no distributor attached, and mostly films directed by women. Of the 31 films I saw at the festival, 24 were directed (or co-directed in two cases) by women, and 17 of those were women of colour. (The fact that male-directed films rank quite highly in the list below is probably because they have to be pretty special for me to make an exception and go see them.)

The other statistic is that most of the films I saw were not in English, which seems fairly obvious but it’s nice to avoid anglophone cinema occasionally. Even of the three American films I saw, Lingua Franca was focused on a Filipina transwoman so chunks of the dialogue were in Tagalog (and Cebuano). I managed a couple of archival films (from the Treasures strand), but most of those I see at Bologna’s Il Cinema Ritrovato in June.

It’s fair to say that from most of the critical coverage I’ve read, there are plenty of films I am excited to see upon their return. Professional critics (somewhat by necessity) have to see the big names to have an opinion and be part of a wider conversation, but it does mean that a lot of critical coverage (certainly the anglophone British/American critics) tends towards the same narrow list of titles. Many of the big director names started with smaller features, perhaps ones that were a little less assured, and for all the quality found amongst first-time directors, you can’t expect a director’s finest work to be their first, so some of the debuts tend to lurk further down my list.

I’m sure I’ll be seeing more of the LFF 2019 films over the next 12 months or more, as distributors’ release windows can sometimes stretch on rather a long time; one of my favourites from last year, Tehran: City of Love, only got a cinematic release last week in the UK. Already some of the titles are on Netflix, but I hope I don’t have to wait so long to see such lauded films as Bacurau and Atlantics, both films I was very close to adding to my list.

10 The Sharks (2019)

9 Lingua France (2019)

8 A Thief’s Daughter (2019)

7 Overseas (2019)

6 Star-Crossed Lovers (1962)

5 So Long, My Son (2019)

4 And Then We Danced (2019)

3 The Unknown Saint (2019)

2 Sweet Charity (1969)

1 Portrait of a Lady on Fire (2019)

Disclaimer: I am not a film journalist or writer, I did not get press accreditation, and I paid for all my screenings.

LFF 2019 Day Twelve: So Long, My Son and Bombay Rose (both 2019) and House of Hummingbird (2018)

My final day of the London Film Festival sends me to three films from Asia (two directed by women), and all of which deal with families in their various guises, though Bombay Rose has more of a romantic flavour than the other two. All three represent reasons why I continue to love contemporary cinema, and value the films that the LFF presents.

Continue reading “LFF 2019 Day Twelve: So Long, My Son and Bombay Rose (both 2019) and House of Hummingbird (2018)”

LFF 2019 Day Eleven: Star-Crossed Lovers (1962), Overseas, Scales and Relativity (all 2019)

My penultimate day at the London Film Festival started with a screentalk from Kasi Lemmons, director of Harriet (part of this year’s festival, though sadly a film I shan’t be seeing here, as it was a late addition), but also many other films I’ve loved over the years. Her five feature films were all covered, with clips provided, in an interview chaired by Gaylene Gould, and I’m reminded of how underrated and funny Talk to Me (2007) is, not to mention her seasonal musical drama Black Nativity (2013), though of course it’s Eve’s Bayou (1997) which received the most attention, and for good reason. Lemmons was voluble about her career, which stretches back to her early childhood as an actor, and is an inspiring figure in general, happy to speak to her many admirers after the screening. I did not ask a question, although I do wonder how the film will be received Stateside, given the recent prominent critiques of Black British actors playing iconic African-American figures. I certainly plan to see it though, and Cynthia Erivo has already shown in Widows that she’s a star in the making. Of the four films I saw, they span several countries, including two German films (one from the East in the 1960s, and the other a recent mystery thriller) both with slightly tricksy narrative structures), two black-and-white films (the East German one and a recent Saudi film directed by a woman in a magical realist style), and one documentary.

Continue reading “LFF 2019 Day Eleven: Star-Crossed Lovers (1962), Overseas, Scales and Relativity (all 2019)”

LFF 2019 Day Ten: The Juniper Tree (1990) and Clemency (2019)

My two films for the third-to-last day of the London Film Festival were two dramas touching on murder, both made by American directors, although quite different in many other ways. After all, one is a Mediæval-set Icelandic folk tale based on a Brothers Grimm fairytale (i.e. the proper weird old-world stuff), and the other is set at a Death Row facility in the States, but in both settings the characters follow their own twisted logic to its murderous conclusions.

Continue reading “LFF 2019 Day Ten: The Juniper Tree (1990) and Clemency (2019)”

LFF 2019 Day Nine: Lingua Franca and Heart (both 2019)

Only two films today, as I used the evening to have some birthday drinks for myself, but both films I saw were written and directed by a woman who also took the lead role, and one gets the sense that both films are about their respective directors. As such the ways that they each approach themselves as subject probably reveal plenty about their respective situations, as the Korean film is more broadly comical.

Continue reading “LFF 2019 Day Nine: Lingua Franca and Heart (both 2019)”