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Posted Female Filmmakers

Sundance: Call Jane

Call Jane stars Elizabeth Banks as Joy, a stay-at-home wife pregnant with her second child. Joy and her husband Will (Chris Messina) soon discover that Joy’s pregnancy is causing her congestive heart failure. The doctor gives her two options: die carrying the child or have an abortion. It’s 1968, still a few years away from Roe vs. Wade, and abortions are illegal underground operations. After a scare, Joy discovers  “Call Jane” a service involving a network of suburban woman who arrange abortions for women in need. The initiative is run by Virginia (Sigourney Weaver) who takes Joy under her wing. Corrupt doctor Dean (Cory Michael Smith) charges $600 per procedure which is out of reach for most women who seek the service. Joy and Virginia team together to make abortions available to more applicants but do so in a safe, affordable yet unconventional way. Joy does all of this while keeping it secret from her husband, daughter (Grace Edwards) and neighbor Lana (Kate Mara).

Based on the true story of the Jane Initiative, Call Jane is directed by Phyllis Nagy, best known for her stunning adaptation Carol (2015). Call Jane has similar pacing as Carol. The film takes its time telling its story. Patient viewers will be greatly rewarded. Call Jane shines a spotlight on the history of abortion but also offers us a look into a future where abortions may become illegal again. Women will seek out abortions regardless of their legality and while the Jane Initiative saw no casualties, many other women have died from botched back alley abortions. This film won’t change anyone’s mind about abortion. But it does serve as a reminder of how far we’ve come and what we have to lose.

Call Jane premiered at the 2022 Sundance Film Festival.

Posted DVD Netflix

Leave No Trace

Military vet Will (Ben Foster) and his teenage daughter Tom (Thomasin McKenzie) live in a makeshift shelter in the woods outside Portland, Oregon. Will suffers from severe PTSD and wants nothing but to live away from the stronghold of society. He cares for Tom, by teaching her survival skills and selling his psych meds for cash to purchase supplies. Tom and Will are constantly training to keep their lifestyle a secret not only because they are living illegally on public lands but because Tom is a minor. When Tom and Will are caught by authorities, they must grapple with what will come next. 

Leave No Trace is directed by Debra Granik and based on a true story that was fictionalized by author Peter Rock in his novel My Abandonment. It’s a truly superb drama that offers no answers and just takes viewers along for the ride. We don’t know the circumstances that led to Will’s PTSD and the lifestyle choices he made for him and his daughter. We also don’t know much about Tom’s mother other than the fact that she died many years ago. Some viewers might struggle with this but I find the movie does a great job revealing just enough to keep us enthralled. Foster and McKenzie give brilliant performances. They expertly keep their emotions at the surface, giving us visual cues that relate information that the story itself doesn’t provide. There is so much both actors convey in a look or an expression that keeps us thoroughly invested in their journey.

Posted 1 Comment on The Power of the Dog Female Filmmakers

The Power of the Dog

Director Jane Campion is a force to be reckoned with. Her latest film, the sweeping Western The Power of the Dog, is simply put a masterpiece.

Set in 1920s Montana, the film stars Benedict Cumberbatch as Phil Burbank, a troubled  rancher with a domineering streak. He runs a cattle drive with his brother George (Jesse Plemons) who is the polar opposite of him; a much more subdued and gentle soul. When George falls in love with widow Rose (Kirsten Dunst), Phil’s world seems to be turned upside down. He despises George’s new wife and her slender and effeminate teenage son Peter (Kodi Smit-McPhee).  Rose turns to alcohol to deal with the turbulent situation with Phil and Peter develops a strange bond with Phil that is ultimately volatile.

Stunningly shot, almost every frame of The Power of the Dog seems like it could be framed and hung up in a museum. There is a brutality to the setting that adds a sense of cruelty to the story and the characters. The landscape is unforgiving and so are the people who exist on it. I love how objects hold power in the story: a cowhide, a paper flower, a  memorial plate, a stack of magazines, etc. This film begs to be watched more than once. 

The characters are fascinating. Phil and Peter’s sexuality is explored in such a subtle yet powerful way.  I particularly enjoyed the performances by Benedict Cumberbatch who gives his role a natural intensity it deserves and Dunst whom we follow so anxiously as her character wallows in despair.

Jane Campion is one of my favorite directors. The Portrait of a Lady (1996), although not considered one of her best, is a personal favorite.  The Power of the Dog is a triumph and I hope we see more from her very soon.

The Power of the Dog is currently streaming on Netflix.

Posted BIPOC

AFI Fest: Love, Dad/Milý Tati

Any woman who has grown up in a culture that prizes male heirs over female children know all too well the pain of being a father’s disappointment. Diana had a great relationship with her Vietnamese father during her childhood in the Czech Republic. However, when, after three miscarriages, her mother finally got pregnant again, their relationship came to an abrupt end. Diana’s father left the family, looking to start again in hopes of continuing the bloodline with his name. 

Love, Dad/Milý Tati is a heart-wrenching short film about a young girl who remembers her dad and the bond they had before it was cruelly taken away. It’s beautiful, poetic and deeply melancholic. Directed by Diana Cam Van Nguyen, it tells the story through letters, memories and gorgeous cut paper art.

I was quite moved by this 13 minute film. I’m the third of a string of daughters born to a man who desperately wanted a son. I was lucky that my father never expressed any form of disappointment in only having daughters but I did feel the pang of guilt when the family name died with him. 

Love, Dad/Milý Tati premiered at the 2021 AFI Fest as part of their Shorts Competition.

Posted Documentaries

AFI Fest: The Death Cleaner/El limpiador

Based in Mexico City, forensic cleaner Donovan Tavera does the work that few others are willing to do. With the highest respect for the deceased, Tavera will come into a home and clean up the aftermath, offering loved ones one of the final steps in the healing process. Directed by Louise Monlaü, The New York Times documentary short The Death Cleaner/El limpiador, paints a portrait of a unique businessman who offers a compassionate service. This short is available to watch on YouTube (player embedded below).

The Death Cleaner/El limpiador premiered at the 2021 AFI Fest as part of the Shorts Competition.

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