Happy International Women’s Day!!  At FlixChatter, I’m all about celebrating female filmmakers every day, not just on special occasions. But this weekend, as March 8 falls on Saturday, I want to take it up a notch and shine a spotlight on some amazing films created by women from all over the globe for this significant celebration. I’ve posted a terrific dark comedy, On Becoming A Guinea Fowl, by Zambian filmmaker Rungano Nyoni, and today, we’ve got a historical drama by an Italian writer/director Maura Delpero; and a documentary about women conductors by an American filmmaker Maggie Contreras.

VERMIGLIO

The film is set in 1944, in the mountain village of Vermiglio, where the war feels far away yet always looming. It tells the story of a local schoolmaster, Cesare’s big family whose quiet life in the secluded village is shaken up with the arrival of a Sicilian deserter, Pietro.

The story unfolds gradually, revealing its mysteries one by one. While it might feel a bit arduously slow at times, I was intrigued by their simple day-to-day life. As most movies now move at breakneck pace and are packed with action, it’s refreshing sometimes to see a quiet film like Vermiglio brimming with disquieting mystery. There’s an undeniable chemistry between Pietro (Giuseppe De Domenico) and the family’s eldest daughter Lucia (Martina Scrinzi), who takes a shine to him right away. They soon marry, but their honeymoon period is cut short when Pietro has to return home to his family as Lucia is pregnant.

I thought initially the focus would be on the romance between these two young lovebirds, but I find myself drawn to the lives of Lucia and her siblings, who undergo their own turmoil. Ada (Rachele Potrich) is experiencing teenage angst and discovering her sexuality but is riddled with so much guilt that she resorts to bizarrely punishing herself. There’s Flavia (Anna Thaler), the apple of her dad’s eye for being the most academically minded, while poor Dino (Patrick Gardner) is constantly undermined by her tyrannical dad for not being smart enough. Cesare (Tommaso Ragno) is a bit of a misogynist, which often clashes with her frustrated wife, Adele (Roberta Rovelli) when he prioritizes his hobby over feeding the family. I feel like Adele is a bit lost in the story. I’d have loved to see her story explored more here. Meanwhile, we see a transformation in Lucia in regards to motherhood. The scenes of her with her baby are quite touching.

Vermiglio – Italian Alps

Vermiglio – big family

Mikhail Krichman‘s breathtaking cinematography would make people want to book a trip to the Italian Alps. The film unfolds over a year, and at one point, Cesare shares his knowledge of Vivaldi’s The Four Seasons with his students. This is quintessential arthouse cinema where the slow, deliberate pace might not appeal to everyone. I find the subtlety quite captivating, though I wish the story had connected more deeply.

Directed by Maura Delpero, this film premiered at the Venice International Film Festival last year and is Italy’s official entry for the Oscar for Best International Feature Film.

VERMIGLIO is in select theaters and available to rent/purchase digitally

MAESTRA

It’s an excellent documentary about five international women who participate in ‘La Maestra’, the only competition in the world for female orchestra conductors. We are welcomed into the competition, recognizing the significant pressure experienced by the five women involved. Ultimately, the focus transcends merely winning. In my view, they are already victors for shattering the glass ceiling in orchestral conducting. The primary lesson lies in the collaborative spirit that these women cultivated. Each contestant was presented in a manner that allowed us to glimpse their individual journeys.

It’s fascinating and inspiring to see how the contestants manage their anxieties in such a prestigious competition. I feel especially for Zoe, a Greek mother of two who has the toughest job to balance her career and domestic life. I have the most affinity for Tamara, the only American featured here, for her vibrant personality and candor. But the other three, Melisse from France, Anna from Poland, and Ustina from Ukraine, all have compelling personal stories of their own. The film sheds light on the underlying sexism in the feedback, as male judges are also in the competition. I cringed when I heard comments like “Smile more” and “Be more energetic.” Not only are those unhelpful, but they’re biased as they seem to be geared more towards women than men.

Director Maggie Contreras comes from a performing background, having honed her skills in the theater scene in London. This experience likely helps her connect with the female participants who are navigating their way through the ups and downs of the entertainment world. All the women, even those who didn’t make it past the first round, left Paris with experiences that were way more valuable than what they had before. They confronted their pasts and navigated the challenges of leaving their families to compete in a high-pressure environment. While each aspired to achieve the ultimate prize, they ultimately gained far more than they anticipated. I love that the credits show updates on their careers. I walked away feeling inspired by these women who are breaking barriers in orchestral conducting.

Maestra is available to stream on Netflix

What are your thoughts about either one of these films? 

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