As I write this, Lynne Ramsay is poised to sweep the boards at all major awards shows for her most recent film You Were Never Really Here (2017, although it was given wider release in 2018) — except, of course, no she’s not, for various systemic reasons which are all far too obvious and have been written about widely. Indeed, aside from a single BAFTA nomination, she is not even nominated, which is absurd given how much more directorial flair she has than most other living British directors. Of course, I don’t imagine my keenly amateurish post here will change much, and she’s already well regarded in the critical community, but it’s always worth paying her films some attention. Many other talented women haven’t had the career trajectory of Ramsay, and she’s still only managed to make a film every 6-8 years or so, which is a real shame, but at least it means when they do come they are mostly exquisite. Certainly that most recent film has a taut focus that’s lacking in too much filmmaking, coming in under 90 minutes and with a narrative economy that elides as uninteresting many of the generic conventions she’s working within, instead going straight for a character portrait of a comprehensively broken man.
I’m going to kick off my (hopefully regular) Wednesday series on women filmmakers with the one to whom I’ve most recently been introduced, courtesy of the streaming platform Mubi, whose canny programming has brought my attention to a number of directors I’d never previously encountered. Latin American cinema, in particular right now, seems to be booming with talented women directors, and in that regard one may look to the career of Argentinian director Lucrecia Martel, who came to prominence at the turn of the millennium with La Ciénaga (2001), and about whom I shall undoubtedly write in coming months. She is hardly the first woman to direct films in the Latin American world, but she is among the most rigorous and visually precise of all active filmmakers in the region, and one of the foremost (and most championed) auteurs in the world, I would say. In her wake there has been no shortage of excellent films by women working in the cinemas of Mexico, Chile, Venezuela, Brazil and Peru, amongst others.
Lina Rodriguez was born in Bogotá, Colombia, though she left after school to pursue further education in the UK and then in Canada, where she has lived for several decades, meaning she is perhaps as much a Canadian filmmaker as a Colombian one (and I gather from interviews that her next feature may be set in Canada). However, for her first two feature films, she has drawn on her life in Colombia, and it’s notable that her mother (Clara Monroy) has appeared in both her films, suggesting a semi-autobiographical patina to the events depicted within them.
Happy New Year!
I used to put up more film reviews over on this site, but now most of that is over on Letterboxd, so my blog is currently limping by with its weekly Criterion Sunday posts. This is hardly a huge amount of content to thrill my regular readers (hello, are there any?) and it also misrepresents my filmic interests, given that the Criterion Collection has been often criticised in the past (and not entirely unfairly) for its focus on a certain strand of largely Eurocentric arthouse filmmaking, driven by prominent male auteurs (Bergman, Fellini, Fassbinder: the usual suspects), and neglecting even major non-Western film-producing cultures (aside, arguably, from Japan). In fact, the number of films directed by women which are featured in their collection has always been very low, even compared to the number of directors working in the industry, though it appears they are making efforts to correct this somewhat (there have been recent releases of films by Barbara Loden, Elaine May, Euzhan Palcy and Susan Seidelman, amongst others), but it will take, er, decades for that to filter through here given my one-a-week posting schedule…
So, I thought it would be good to start a new regular strand to focus on some filmmakers whose work I’ve enjoyed or found interesting, who aren’t featured often enough in the usual lists. It is almost certain this year that my Letterboxd list of every feature film I’ve seen directed by a woman will pass 1000 entries, and yet too often I’ve barely read anything about some of these directors. Even a cursory internet search for ‘films by women’ tends to bring up the same names all the time (Ava DuVernay, Jane Campion, Sofia Coppola), which doesn’t represent nearly enough of the really great work that women filmmakers have been putting out in the last decade or two, not to mention historically (I have yet to really get stuck into Kino Lorber’s recent “Pioneers: First Women Filmmakers” box set, but it’s just one of a number of such releases recently, and looks likely to help change some of the conversation around film history and how it’s understood and taught).
I’m quite sure plenty of people will be familiar with a lot of the names in my series — anyone who has made an effort to keep up with the most interesting world cinema — but, as with my Films by Women page (a list that I try to keep updated regularly), I just wanted to add a little bit, however amateurishly, to the writing about the work of all these creators. I also hope it will be a spur to my own watching habits, as many of these women’s films can sometimes be quite hard to see.
(I shall update this post each week as I add new directors, and link it from my Films by Women page.)