With heart and bravery, and offering unique windows into typically unexplored lives, remarkable debut features ‘The Hill Where Lionesses Roar’ and ‘Quickening’ both interrogate how young women on the cusp of adulthood navigate their ever more-complicated worlds.
A rare apocalyptic holiday movie, ‘Silent Night’ is a philosophical and spirited dark comedy that manages to be equal parts charming and horrifying, but without the gruesome visuals that typify the horror genre.
An Indigenous sci-fi thriller, “Night Raiders” brings the painful history of Canada’s residential school system into a war-torn, eerily conceivable future. (This is one in a series of reviews from the 2021 Toronto International Film Festival, during which I focused on films directed by women.)
“Aloners” is an intensely quiet, atmospheric exploration of self-imposed isolation and loneliness requiring both focus and patience from the audience. “Violet,” by contrast, is intrusively loud, allowing neither its protagonist nor its viewers a moment of peace from the insistence of its narrative interruptions.
Examined together, these films present two distinct views on modern life, professional achievement and personal struggle.
In Céline Sciamma’s newest feature, “Petite Maman,” for the first time, mother and daughter speak the same language and play the same games—perhaps discovering that they understood each other all along.
[This is one in a series of reviews from the 2021 Toronto International Film Festival (TIFF), during which I focused on films directed by women.]
In the sweltering heat of a midday desert sun, a delegation of ERA supporters gathered in front of Sen. Kyrsten Sinema’s local office to deliver thousands of letters, postcards and petitions from Arizona and across the country imploring the senator to align with her fellow progressives and help end or reform the filibuster—a necessary step so the Senate can move forward on a vote to remove the time limit on passing the ERA.
“Gunpowder Milkshake” is a cautionary tale about what happens when you’re determined to make a women-led shoot-‘em-up, but have given very little thought to what you’re actually going to do with those women in terms of story structure, characterization or dialogue.
‘Black Widow’ may be an enjoyable romp on the surface, but as a triumphant send-off for Natasha Romanoff, it feels hollow: too little, too late.
Released exactly a year ago on Saturday, ‘The Old Guard’ was overwhelmingly well-received by critics and was my favorite film of 2020, easily making it onto my end-of-year best feminist films list. And yet, the film is deserving of even more fanfare and continued accolades (especially with a sequel in the works). Consider this my ‘The Old Guard’ one-year anniversary present, masquerading as a review.
Inclusion Rider is a contract provision designed to help hold studios accountable for inclusive hiring practices.
“We have always had systemic change as the goal. The question being what tools could we put out there to help make the industry be more equitable, be more inclusive, be more accessible.”