It’s the hottest week in Minnesota (the heat index is over 100 which I’m not used to) so I spend time hibernating and catching up on movies I’ve been wanting to check out for ages. Of course, I prioritize those #directedbywomen for my 52 Films By Women challenge (6 movies so far this month, woot!!).

LOU (2022)

Director: Anna Foerster

I’ve been wanting to see this for Allison Janney, whom I’ve only seen in dramas or comedies up until this movie. Janney’s Lou is a recluse with long-buried secrets, ready to put an end to her own life when suddenly her frantic neighbor Hannah (Jurmee Smollett) arrives with news that her daughter Vee (Ridley Bateman) has been kidnapped. Set in one of Washington State’s San Juan islands (but filmed in British Columbia) as a big storm is raging, the atmosphere is moody and gritty where you could practically feel the torrential rain and cold wind blasting the characters. DP Michael McDonough also shot Leave No Trace, also set in a lush forest.

It’s part survival thriller part crime mystery with some mother-son drama thrown in. The movie lets you know the kidnapper right away so it’s not exactly a whodunnit, but it does have quite a few surprises up its sleeve. Ok, so some of the plot is rather absurd but thankfully it didn’t derail the movie. Smollet is pretty good though not as impressive as she was in Birds of Prey. Logan-Marshall-Green (whose resemblance to Tom Hardy is uncanny!) is quite sinister as Hannah’s ex, a former Green Beret who doesn’t take too kindly for being jilted and is now back to take his daughter away.

The MVP is definitely Janney, who’s absolutely badass as a no-nonsense mixture of Bear Grylls meets Jason Bourne with a dollop of Liam Neeson’s Bryan Mills. The kidnapping premise could be a riff on Taken but with its own twist. She gets to use her 6-foot frame and formidable physicality in a bunch of fight scenes, she’s totally believable that she could beat up burly guys to a pulp. Director Anna Foerster has cut her teeth in various big-budget series like Outlander, Westworld, Carnival Row, etc., and she certainly has the chops to direct thrilling action scenes. She sure puts the actors in a wringer, the wooden bridge atop a river crossing sequence must not be at all fun to shoot!

There’s an ample supply of action movies starring kick-ass women on Netflix with varying degrees of watchability. Glad to see one featuring a woman in her 60s, which as Michelle Yeoh said in her Oscar speech, is far from being past her prime. I don’t normally think sequels are a good idea, but I’d be up to see more of Janney as Lou… or watch her in other action-packed roles!

CARMEN (2021)

Director: Valerie Buhagiar

I first came across this one when I searched for another 2o22 film of the same exact name starring current ‘it boy’ Paul Mescal. Well, I did see that one (which I have yet to review), and they are two completely different movies. Written and directed by Valerie Buhagiar, Apparently the filmmaker’s own aunt was the inspiration for 50-something Carmen, played by Natascha McElhone. It’s an old Catholic tradition in Malta that requires the eldest sister of any man who joined the priesthood to devote her life to taking care of her brother.

Now, I think a bit of exposition would’ve been helpful as I didn’t know about this until after I watched it. I think the film took a bit of time to find its groove, but there’s a certain charm to the leisurely pacing, stunning Malta scenery and McElhone’s enigmatic but expressive performance. When Carmen’s brother died suddenly, she had to figure out how to survive on her own as she’s left without a penny nor even a roof over her head. The bishop casually tells her that ‘God will provide for her, but in the afterlife’ (which obviously is NOT what Jesus preached about in the Bible).

From the way the film is shot, Buhagiar clearly has a reverence for the Catholic faith, even as she exposes its shortcomings, archaic traditions, and the church’s lack of care for its own loyal servant. Themes of legalism and sin that have its grip on the townsfolk permeate the film but yet handled in a quirky, mirthful manner. There are some supernatural elements thrown in as well, with the Lord using pigeons to provide signs for the women in the story.

As the new priest fails to show up in the village, Carmen assumes his identity in the confession booth, which gives her an opportunity to break free and pursue her own life goals. The confession scenes are pretty funny and the whole ordeal ends up bringing a blessing for the town, particularly the women.

McElhone is a delight to watch, somehow able to balance the poignant and comedic elements seamlessly. Glad she got a chance to shine in a leading role as I have seen her in mostly supporting roles. Carmen blossoms as the movie progresses and we see her rediscover life and even find romance in the process, thanks to the handsome pawnshop owner Paulo (Steven Love). Carmen’s backstory that’s been shown repeatedly through her dreams/visions also comes to light, though the reveal doesn’t feel quite as emotional as it’s intended. Still, there’s plenty to enjoy in this gem of a movie…  an uplifting celebration of a woman finally finding her voice.

Have you seen either one of these? I’d love to hear what you think!
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