FlixChatter Review: tick, tick…BOOM! (2021)

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Though I saw RENT on stage years ago (can’t remember when or where exactly), I have zero knowledge about its creator Jonathan Larson. I thought the film’s title is so unique and brilliant, which apparently is based on Larson’s one-night-only monologue performance. I only just realized that fact as I got to the end of the movie, but for much of the movie, I was wondering what this set-up is all about.

Larson (played by Andrew Garfield) sings while playing piano, reciting his creative experience with a small band (one of the singers is Vanessa Hudgens), which focuses on his journey to bring his futuristic rock opera Superbia to life. Of course as the film progresses, it starts to make sense.

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This is Lin-Manuel Miranda’s directorial debut, and given his stage background, his love for theatre is palpable. I have to admit that the first hour I was getting used to his directing style, which makes me feel like I’m watching a play being recorded for the screen. The constant quick cuts during a pivotal scene between Jon and his girlfriend is distracting, it makes it quite hard for me to concentrate on the story and to invest myself emotionally in the characters. In the third act he gets even more creative, most notably the rousing Moon Dance diner musical number. Again it very much looks and feel like I’m watching a theatrical production. I’m not saying it’s bad necessarily, but it doesn’t translate to immersive storytelling.

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The less bombastic number is the most moving to me… Garfield’s piano solo in the park is particularly memorable and heartfelt. I’ve been a longtime admirer since I saw him in Boy A over a decade ago, and this surely is his career best performance. What a nice surprise that this talented actor can sing too! Apparently he spent a year training his vocals and it shows.

As for the supporting cast, Robin de Jesus as Larson’s supportive best friend Michael is fantastic, he provides the biggest emotional beats of the film. His duet Real Life? with Garfield had me bawling. Alexandra Shipp is lovely as Larson’s girlfriend, and it’s fun seeing Judith Light here too as Larson’s no-nonsense agent.

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All the bits involving Stephen Sondheim (played by Bradley Whitford) is especially emotional since he just passed away recently. I later learned that Sondheim’s own voice made a cameo in the film, which got me teary eyed as I remembered it. Every artist could use an encouragement like he did for Larson, so that was incredibly inspiring.

What I like best is how Miranda shows that the struggle is real for artists like Larson who had to juggle day jobs and simply surviving, while trying to get his art out to the world. Even when he gets a few people to believe in him, it was still something insurmountable to accomplish… at the cost of his relationships with his best friend and girlfriend.

The ending shows a title card that Larson died suddenly on the night of RENT previews at the tender age of 35, which is just so tragic. Though RENT is not exactly my favorite musical, I think the social commentary makes is quite unique. The fact that the story highlights artists affected by the AIDS epidemic, it’s a bit eerie that this film is released during a pandemic.

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Overall I enjoyed the film despite my qualms about Miranda’s directing style. The inherently theatrical approach and editing style gets in the way a bit of the story, so tick, tick…BOOM! is far from being my favorite musicals. Still, I’m glad I saw it and Garfield’s astounding performance alone made this well worth a watch.

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Have you seen Tick, Tick … Boom!? I’d love to hear your thoughts on it!

Netflix Pick: The Water Man (2020)

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I had been wanting to watch this film for some time as I’m a big fan of David Oyelowo. This adventure drama marks his feature film debut from a script by Emma Needell.

The story centers on Gunner (Lonnie Chavis) an artistic boy with keen imagination who’s working on a graphic novel Detective Knox. He just moved to a rural Oregon town with his Marine dad and loving mom who’s terminal ill. While his dad is often absent and his mom is being treated, he finds his escape through his active imagination that fills the pages of his art books… until one day he learns about the mythical Water Man who possesses the secret to immortality.

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Thinking the Water Man is the secret to saving his mom, he sets out on a quest to find him in the remote Wild Horse forest. He enlists the help of a mysterious young girl Jo (Amiah Miller) who claims to have met this mythical figure. The film has a decidedly wholesome, old school vibe …  clearly influenced by 80s family-friendly adventure like Stand By Me and E.T. (there’s even an homage to the Spielberg classic in the form of the boy’s vintage lunch box). I don’t think this one quite lives up to those movies, but there are still plenty to like here.

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Now, the journey through the forest was quite engaging thanks to the relationship between Gunner and Jo which starts out testy but ends up being a cathartic experience for both of them. There are whimsical moments that keeps even the sad moments from being too morose. The fantasy elements might not be as dynamic or edgy enough for teens who are more used to a lot darker stuff these days, but I think Oyelowo is more concerned with making a grounded story that deals with real life struggles. I for one appreciate the earnestness in the way the story is told, as well as its insistence on finding hope amidst even the bleakest of circumstances.

Oyelowo himself is solid as the tough military dad who finally softens up and learn to see his son as he is, heeding the wisdom of his wife. Rosario Dawson portrays a wise and caring mom believably, and managed to still look radiant despite the character going through cancer treatments. Alfred Molina has a small but memorable role as an author whose book inspires his adventure. Despite the relative inexperience, the two kid actors still manage to hold my interest.

I think it’s admirable that the story places a smart black young boy as the savior figure for his family, in a story that feels universal and relatable to audiences of all backgrounds. It’s lovely to see a portrayal of a close-knit black family that feels realistic instead of aspirational. At the same time, the film doesn’t shy away from tackling difficult topics like child abuse, death of a loved one, as well as the spiritual aspect, even showing a family’s praying and thanking God. That alone is so rare to see these days and something I always appreciate.

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Overall it’s an engaging directorial debut that balances heavy themes with a kid’s innocence and wide-eyed wonder. At a time where superhero movies dominate cinematic content, it’s refreshing to see an ordinary boy being the hero of his own story. I love that Gunner’s graphic novel is also given a nice resolution thanks to a creative use of end credits (if only Netflix doesn’t immediately cut off end credits to show a trailer of another movie I never asked for). I’d recommend this to people looking for a family-friendly adventure with a strong positive message.

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Have you seen The Water Man? I’d love to hear your thoughts on it!

Trailer Spotlight: Jean-Pierre Jeunet’s BIG BUG (2022)

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It’s already mid January and I haven’t done a trailer spotlight yet. Well, I just saw this on Flipboard this morning and I just had to blog about it. It’s from Jean-Pierre Jeunet who made Amélie (2001), and I haven’t seen anything he’s done since then. I never saw A Very Long Engagement and he’s only done a couple of features (one was a TV movie) and a couple of short films in the past two decades. Not exactly the most prolific filmmaker eh, but probably Mr. Jeunet has other jobs/projects.

In any case, check out the trailer of his new sci-fi comedy:

A group of bickering suburbanites find themselves stuck together when an android uprising causes their well-intentioned household robots called Yonyx to lock them in for their own safety.

This trailer definitely has Jeunet’s quirky signature all over it. It stars prominent French actors: Dominique Pinon who’s been in pretty much all of Jeunet’s movies, André Dussollier, Claude Perron, and Elsa Zylberstein. The subject matter of robots malfunctioning & ‘smart’ tech being a threat on humanity is nothing new, so filmmakers have to be more creative in coming up with the plot to make it fresh. The bright, vivid colors and the French suburban setting with wacky, peculiar characters already sets it apart from the usual brooding, morose sci-fis involving evil androids.

The different style and shapes of the robots have an interesting variety, too. Now this one looks like an even creepier version Robocop, ahah.

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Having just seen I’m Your Man recently, I’m on the lookout for more humorous-but-poignant robot movies. This one looks pretty wild and hysterical, and like most movies about robots, usually it’s the humans who are wreaking havoc on themselves. Set in the not-so-distant future of 2050, I wonder just how advanced AI technology would be… seems plausible enough, though as the kids say in the movie, people seem to think back then that we’d have flying cars by now, ahah.

In any case, I can’t wait to see this on February 11 (my birthday!)… though it’s got plenty of competitions as there are SO many films coming out that Friday: Liam Neeson’s Blacklight, Kenneth Branagh’s long-delayed Death on the Nile, and J-LO + Owen Wilson’s rom-com Marry Me. I’m really hoping there’ll be a screening for Death on the Nile for my Brit crush Tom Bateman!


Anyway, are you interested in seeing BIG BUG?

FlixChatter Review: THE TENDER BAR (2021)

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This is the third film by George Clooney I’ve seen so far, and also his second collaboration with Ben Affleck after they both produced the Oscar-winning ARGO. Both are actors who have become terrific directors in their own right… they have also played Batman on screen, surely an amusing anecdote for superhero fans.

Growing up in Long Island, young JR is raised by his single mom and only knows his absentee DJ father through his voice in the radio. His uncle Charlie (Ben Affleck) becomes his father figure who pass along his wisdom and love for books all while tending his bar, appropriately named Dickens.

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The young JR is played with wide-eyed curiosity by Daniel Ranieri, whose relationship with Affleck is pretty warm and affecting. I also like Lily Rabe as his mother whom I’ve never seen before, and Christopher Lloyd is quite memorable in a small role as JR’s grandpa. Having just seen Affleck being a royal pompous @$$ in The Last Duel, it’s nice to see him play a role close to his own self, a Northeaster (though New Yorkers would likely take issue with his Boston accent, ahah). HIs character reminds me a bit of Uncle Frank who has a similar relationship with his niece, though for the most part Affleck is more of a supporting character.

Tye Sheridan portrays JR in his college years and though Sheridan is a good actor, the film drags the most in the second act. Despite my best efforts, I can’t get into the story nor care that much about JR’s journey. The on-and-off romance with his fellow Yale student (Briana Middleton) is more puzzling than sizzling. In fact, I find myself trying to figure out what is so special about this story… So apparently Moehringer won a Pulitzer, but apart from a writer’s journey, it’s unclear what it is exactly to glean from this film.

I think one of my biggest issues with the movie is Affleck’s character… though his performance is good and he’s believable as JR’s father figure, uncle Charlie isn’t fully fleshed out that in the end, I have no idea who he is and what his motivations are. He seems really devoted to his sister and cares for his nephew but it’s not clear why he himself doesn’t have a family. Perhaps I missed something as I was trying to stay awake.

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The script is by William Monahan, who won an Oscar for The Departed, but I can hardly remember much of the dialog. Can’t say this is Clooney’s best work either, it’s just too slow and overly nostalgic. I did enjoy the soundtrack as well as the fabulous 70s wardrobe, but the lack of emotional connection with any single person in the film makes for a rather tedious experience. Unlike the fun 70s music, this coming-of-age drama struggles with getting the right groove.

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Have you seen THE TENDER BAR? Well, what did YOU think?

Top 10 Films of 2021 + 15 Honorable Mentions

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Hello fellow film fans! My picks of best/favorite movies of 2021 is here! Per my blog tradition, I usually wait until mid January to post the obligatory Top 10 Best list.

I always have to preface this kind of post that there are still plenty of 2021 movies I have not seen yet: The Worst Person in the World, The French Dispatch, A Hero, C’Mon C’Mon, Licorice Pizza, Spencer, Summer of Soul, etc. which might alter my current Top 10.

It goes without saying of course, that everyone’s list is personal… my criteria is that a film makes a lasting impression on me, combining the virtue of being entertaining, deeply-moving, thought-provoking and indelible. Replay-ability is a factor I take into consideration as well, though I don’t necessarily want to rewatch every single film on my list. Well without further ado, here we go… 

Top 10 Films of 2021

(in reverse numeric order)

10. Black Widow* (Full Review)

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I’ve included MCU films in my top 10 in the past and this past year, Black Widow is the one that really impressed me the most. Despite the lame villain, overall there are lots to love here, especially the introduction of Florence Pugh as Yelena. I’ve come to love Scarlett Johansson in the titular role so it’s great to finally see her get the solo movie, albeit it’s long overdue. The screenplay by Eric Pearson manages to balance the action, humor and emotional moments pretty well. It’s a fun mix of spy thriller and superhero genre that’s essentially about family ties.

9. Spiderman: No Way Home (Full Review)

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If you asked me earlier this year if a Spider-man movie would make my top 10, I’d say ‘no way!’ But hey, this is a year where some of my most-anticipated films end up disappointing or simply didn’t live up to my expectations. Well, kudos to Jon Watts + co for delivering first rate entertainment that’s delightful, funny, and surprisingly emotional ride that makes me fall in love with the characters all over again. Now that most people have seen this by now, I can say how much I enjoyed seeing the three Spideys hanging out and fighting together. Not only was the stakes really high for Peter (or I should say Peters), the movie also gave Andrew Garfield’s Spidey such a great redemptive arc. I think the record-shattering box office is well deserved. I for one think that films of any genre can be great art, including comic-book movies.

8. West Side Story (Full Review)

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In a year where there are plenty of musical adaptations, this is the one I’m most impressed with. I really wish ANNETTE would make the cut as I had anticipated that one the most, but I think the best part about that film is Adam Driver’s astounding performance (hence it makes my Honorable Mentions list). Admittedly, this version of West Side Story is the first cinematic adaptation I’ve seen and it looks absolutely glorious on the big screen! Seeing it on Dolby Cinema was quite a treat for the senses. This film further proves that Spielberg’s still got it and he is truly a master filmmaker who can thrive in any genre.

7. The Tragedy Of Macbeth (Full Review)

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I honestly didn’t think I’d be listing a popular Shakespeare adaptation to my Best-Of list, it’s a film I wasn’t even that interested to see. Yet I was blown-away by Joel Coen’s beautifully-crafted adaptation done with minimalist yet bold approach. Denzel Washington and Frances McDormand make for a captivating middle-aged Macbeth and Lady Macbeth, while Kathryn Hunter delivers an effectively-eerie, Oscar-worthy performance that’s quite hard to shake. The Tragedy of Macbeth exceeds my expectations in every respect and definitely one of the absolute best films of the year. 

6. The Lost Daughter* (Full Review)

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I’m thrilled there have been quite a few buzz-worthy female-directed films last year. This one is still fresh in my mind as I had just seen it recently. It’s another phenomenal directorial debut with stunning central performances. I’ve appreciated Maggie Gyllenhaal as an actress before and she’s definitely got the chops as a writer/director. It’s such a bold first film, tackling a a taboo subject about motherhood that’s rarely depicted on screen, yet it presents the issue without a condemning eye. She directed this with such a deft hand, keeping the tension & suspense up until the end.

5. CODA* (Full Review)

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CODA is actually an English-language remake of the French-language film La Famille Bélier (2014) that the original film producer himself wanted director Sian Heder to direct for American audiences. Well, Heder certainly did an astonishing job reinventing the story and making it her own. It’s such a delightful film about a family of mostly deaf adults, with the exception of Ruby (Emilia Jones), hence the title that refers to Child of Deaf Adults. Heder is astounding here and she deserved more attention this award season, as is Troy Katsur who plays her dad. The father-daughter moment while they’re looking at the starry sky is one of my favorite scenes I’ve seen this year.

4. Drive My Car

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I’m glad I got a screener for this and it was the first film I watched of 2022. I’m glad I waited before I posted my top 10 until after I saw this. The 3-hour running time might make it hard for some people, I actually had to break it up into two viewings. The fact that the story revolves around the world of theatre–the protagonist Yûsuke is adapting Chekhov’s Uncle Vanya–appeals to me, but it’s an emotional journey about loss and love. Hidetoshi Nishijima has a magnetic appeal as Yûsuke that I’m curious to see what else he’s been in. Filmmaker Ryûsuke Hamaguchi takes his time in peeling back its layers, and I think the film could be edited down to be closer to 2-hours. At the same time, the slow, atmospheric ride is a captivating one that does reward my patience.

3. Belfast (Full Review)

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Thanks to Twin Cities Film Fest, I saw this back in October and it’s definitely the film fest highlight for me. I’ve long admired Kenneth Branagh as an actor and director, and this time he tells his own childhood story of growing up during the turbulent times of ‘the Troubles’ in Northern Ireland. The cast is fantastic, with notable, Oscar-worthy performances from Ciarán Hinds & Caitríona Balfe. Despite the dark subject matter, I find BELFAST entertaining and heartfelt, with plenty of wit and humor to keep things from being too dour. At just 1hr 38min, it never overstays its welcome. I truly appreciate filmmakers who can tell their story efficiently in a relatively short time.

2. The Power Of The Dog* (Full Review)

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Of all the movies I’ve seen last year, I think The Power of The Dog is the most potent and haunting that really gets under my skin. There’s an unsettling mood and tension permeating every minute that takes hold of you and wouldn’t let go. It’s been weeks since I saw it and I still find myself thinking about it and recounting some of its layered mystery and meaning. Benedict Cumberbatch is in fine form here that proves his versatility, and Kodi Smit-McPhee is definitely one of the best young actors working today. Bravo Jane Campion for crafting a quiet but tremendous film with plenty of undercurrents beneath the surface. It’s simply exquisite, a word I don’t usually use to describe most films. She’s a shoo-in for Oscars’ Best Director nominations. I’ll be rooting for her to win this year, but mostly I wish she’d direct more movies!

1.  DUNE (Full Review)

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It’s so wonderful when a movie you’ve been anticipating lives up to your expectations. A film that ought be seen in as big a screen as possible, but also holds up on repeat viewing on HBO Max. I actually enjoyed it more on repeat viewing, and the visuals are still as breathtaking even on the small screen. There’s so many things Denis Villeneuve did right with this massive undertaking, and one of the biggest thing is pacing. Most films over 2-hours long tend to drag, but it kept me engaged most of the time.

‘Fear is the mind-killer’ is the book’s mantra, but it might as well be Villeneuve’s. It takes some gargantuan ambition, guts, passion and craftsmanship to tackle something deemed ‘un-filmable.’ The immensely watchable ensemble cast, led by Timothée Chalamet, are terrific overall. Bring on part II!


15 Honorable Mentions

There’s no ‘science’ in picking a Best List… mostly just gut instinct and personal preference. I really enjoy these 15 films, and some of them actually almost made it to my top 10 list. In any case,

(in alphabetical order)

  1. Annette – review
  2. The Green Knight – review
  3. The Harder They Fall
  4. I’m Your Man* – review
  5. King Richard – review
  6. The Last Duel – review
  7. MASS
  8. My Name Is Pauli Murray* – review
  9. Nightmare Alley – review
  10. No Time To Die – review
  11. Passing* – review
  12. Pig
  13. Riders Of Justice – review
  14. Shang-Chi – review
  15. When Hitler Stole Pink Rabbit*

The films marked with * (asterisk) are those #directedbywomen
Check out my list of films I saw as part of the 52 Films By Women Challenge


What do you think of my 2021 Top 10 list? Any of your favorites on the list?

FlixChatter Review: The Lost Daughter (2021)

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The Lost Daughter marks another directorial debut from a terrific actress. Earlier this year I saw Passing from Rebecca Hall, and this time it’s Maggie Gyllenhaal behind the camera and also wrote the script based on Elena Ferrante’s novel.

Olivia Colman plays Leda, a middle-aged professor of comparative literature vacationing in a Greek island. It’s never revealed where teaches at, though she said she lives in Cambridge, near Boston which means she likely teaches at Harvard. It’s clear from the way she carries her books and papers with her to the beach that she’s devoted to her work even during her vacation. But her wish for a quiet, peaceful holiday takes a different turn when a large boisterous family descends abruptly and practically takes over the entire beach. 

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Leda doesn’t hide her annoyance, in fact, when one family member asks her to move her chair, she wouldn’t budge. The disruption ends up with Leda getting to know some of the family members, notably Callie (Dagmara Dominczyk) who’s pregnant with her first child.

The topic of motherhood is clearly a point of focus, as Leda is fascinated by Callie’s sister Nina (Dakota Johnson), a young mother attending to her toddler daughter, Elena. One day, Elena was playing with her doll and the next minute she went missing, leaving Nina absolutely frantic. Now, given the film’s title, one would be inclined to think that the rest of the film is about this missing daughter. Well, without spoiling it for you, it’s actually so much more than that. 

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Even before Elena goes missing, just watching Nina being with her daughter brings back memories of Leda’s past. The film starts to shift back and forth between past and present, showing young 20-something Leda juggling post-graduate school while taking care of her two young daughters. The decision she made decades ago suddenly is back to haunt her. 

I saw an interview with Gyllenhaal recently where she talks about society’s perceptions, expectations and even myth of motherhood that every mother absolutely loves being one. In many ways this film dispels the myth that motherhood is something every woman craves. It offers an honest portrayal of a mom who struggles with the responsibility that comes with raising kids, and perhaps feeling lost in the midst of it all.

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Now it doesn’t mean the film excuses all of Leda’s misbehavior though, in fact it shows the consequence of a terrible thing she did to Nina’s family, involving Elena’s beloved doll. At the same time, it also doesn’t condemn Leda for her decision even if society at large would shun her for it.

I was immediately intrigued to see this because of the three main female cast, Olivia Colman, Dakota Johnson and Jessie Buckley. Well all of them lives up to the hype. It’s a trifecta of terrific performances. Leda is not exactly a sympathetic character but Colman makes her relatable and human. At times she is overwhelmed by her memories as much as Nina is often bombarded by her daughter’s demands for attention. I’m so thrilled to see Colman being on the forefront of the awards race once again, her range is astounding and this is a juicy role that’s not wasted on someone so talented.

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Johnson is perfectly cast as well as a beautiful yet vulnerable young mom and the flashbacks shows some similarities between Nina and Leda’s younger self. Buckley is an actress I’ve only seen in a couple of things but she’s really impressive here. One can’t help but feel for her exasperation, likely feeling trapped by her responsibilities.

As for the notable male supporting cast, it’s always nice to see Ed Harris, especially in a rather playful role where he gets to sing and dance for a bit. Harris plays a playful innkeeper who takes a shine on Leda, though their relationship remains ambiguous. Gyllenhaal’s husband Peter Sarsgaard also has a small but memorable part as a scraggly but charming lecturer.

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The fact that Gyllenhaal is an actress herself might have aided her in getting the kind of performances needed for the story. She has a good grasp on the story and imbues the film with mysterious & unsettling tone throughout. The visuals seems too dark at times and the Grecian island doesn’t look as lush and panoramic as one would expect, but I feel that it’s perhaps intentional on DP Hélène Louvart’s part. The rather gloomy look seems to match what Leda’s experiencing.

I’m still on the fence about the ending which feels a bit anticlimactic, but I appreciate the fact the unpredictability aspect and that Gyllenhaal keeps the suspense up until the end. Yes it’s slow going at times with not much happening, but it proves to be a rewarding experience. The Lost Daughter is a bold and even defiant film that tackles a taboo subject that’s rarely depicted on screen. That alone is quite a feat and it was directed with a deft hand. It’s impressive debut by all accounts and I definitely hope Maggie Gyllenhaal keeps on directing in the future.

4/5 stars


Have you seen the latest THE LOST DAUGHTER? Let me know what you think!

’52 Films By Women Challenge’ 2021 Recap

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One of the movie-related challenges I try to complete every year is 52 Films By Women challenge…. that is to watch at least one film directed by women per week. Seems pretty easy right? Especially since there is better female representation behind the camera than ever before, though of course we still have a long way to go. Well, I wish I could say I’ve completed the entire challenge, but I’ve only managed to complete 70% of it, which means I have to do better next year!

Here are the list of films I saw. Though I haven’t reviewed them all, I briefly talked about most of these in my monthly recap.

  1. Promising Young Woman
  2. Raya and the Last Dragon – review
  3. One Night in Miami
  4. Where Hands Touch
  5. Orlando
  6. Things Heard and Seen
  7. Love It Was Not (doc)
  8. When Hitler Stole Pink Rabbit
  9. Antoinette dans les Cevennes
  10. The Assistant
  11. Rita Moreno (doc)
  12. Black Widow – review
  13. Last Letter From Your Lover – review
  14. Love Sarah – review
  15. CODA – review
  16. The Girl In The Book
  17. Reminiscence – review
  18. The Souvenir
  19. Love & Basketball
  20. Our Kind Of Traitor
  21. Worth – review
  22. My Name is Pauli Murray – review
  23. Good On Paper
  24. Proxima
  25. I Am Woman
  26. I’m Your Man – review
  27. Sounds Like Love
  28. Eternals – review
  29. Forty Year Old Version – review
  30. Passing – review
  31. The Power of the Dog – review
  32. The Matrix Resurrections – review
  33. The Zookeeper’s Wife
  34. Ron’s Gone Wrong
  35. The Lost Daughter – review

TV SERIES/LIMITED SERIES CREATED/WRITTEN BY WOMEN

  1. Dix pour cent AKA Call My Agent (S4) – Netflix
  2. The Nevers – 2021 (S1) – HBO Max
  3. The Pursuit of Love – 2021 (Miniseries) – Amazon Prime
  4. Gold Digger – 2019 (Miniseries) – Sundance Now

I highly recommend all of these and they’re available to stream in various platforms listed above. I’d say my fave out of the four is definitely the French series Call My Agent, which sadly ended with season 4. It’s absolutely hilarious and likely pretty accurate too given it was created by actual former talent agents. I might have to rewatch the whole thing all over again… it’s so binge-worthy!


So out of the 35 films by women, here are my picks of the 10 Best:

Top 5 favorite new releases:

CODA

Black Widow

I’m Your Man

The Power Of the Dog

The Lost Daughter

I’m glad to see such a great variety of genres amongst these female-directed films… from superhero movie, sci-fi comedy, to psychological dramas, these films couldn’t be more different from each other but they show the sheer talent behind the camera. In addition to being directed by women, The Lost Daughter + The Power of the Dog both have female DPs, enhancing the female gaze storytelling perspective even more.

Top 5 favorite older movies:

Love & Basketball

Forty Year Old Version

Proxima

Our Kind Of Traitor

Orlando

I don’t know how I could’ve missed Love & Basketball which is such a terrific love story! Proxima is an underrated sci-fi drama about a female astronaut trying to balance her mission and being apart from her 8-year-old daughter, Eva Green is really good in the lead role. Our Kind of Traitor is a suspenseful spy thriller from British filmmaker Susanna White, highly recommend it for spy movie fans. I’ve reviewed Forty Year Old version which would’ve made my top 10 of 2020 if I had seen it sooner. Lastly, Orlando is Sally Potter’s adaptation of a Virginia Woolf novel starring the one and only Tilda Swinton.


I found this great link from BFI – The female gaze: 100 overlooked films directed by women

I’ve already added a few films to my watch-list, fortunately some of them are on streaming like Netflix or HBO Max. So no excuse not to watch more films by women 😉


Which of these films have you seen and which are your favorites?