100 great movies by female directors – part 5 | Little White Lies

Women In Film

100 great movies by female direc­tors – part 5

17 Jul 2015

Illustration showing a retro comic-style cover for a book titled "100 Great Movies by Female Directors", featuring a woman's face in profile.
Illustration showing a retro comic-style cover for a book titled "100 Great Movies by Female Directors", featuring a woman's face in profile.
Til­da Swin­ton, Jodie Fos­ter and Adam San­dler all fea­ture in this seg­ment of our epic movie countdown.

As his bud­dy Berzin explains, Eddie’s life is ruled by bull­shit”. The day before leav­ing for Viet­nam, a war he believes will be easy, Eddie (Riv­er Phoenix) and his friends, the Bees, decide to engage in anoth­er unfair ego-inflat­ing bat­tle: who­ev­er finds the ugli­est woman to bring to their par­ty wins. This dog­fight encap­su­lates the misog­y­ny suf­fered by all women – attrac­tive or oth­er­wise – when they are objec­ti­fied by men. Yet when Eddie preys on Rose (Lili Tay­lor), a shy and lone­ly wait­ress, her hon­esty and gen­uine inter­est in his life make it dif­fi­cult for him to see her as just a fun­ny face. Sim­ply by ques­tion­ing his salty man­ner and easy recourse to vio­lence, she awak­ens his self-aware­ness and brings his lack of con­fi­dence to the sur­face. Her kind­ness isn’t syn­ony­mous with naivety, how­ev­er, and when she accepts to not leave Eddie alone on his last day, she is clear­ly the one offer­ing the favours. Her self-respect and gen­eros­i­ty allow him to face his fears, which his macho friends, the army and Amer­i­ca itself insist­ed that he deny. Manuela Laz­ic

Okay, so Derek Jar­man is the per­son who we can all hold respon­si­ble for intro­duc­ing the world to the glo­ry of Til­da Swin­ton, but it was Sal­ly Pot­ter who gave her one of her great ear­ly roles. Indeed, this dynasty-hop­ping saga of an omnipo­tent Eliz­a­bethan dandy and noble­man who even­tu­al­ly switch­es gen­der, is an abridged adap­ta­tion of Vir­ginia Wolff’s 1928 nov­el Orlan­do: A Biog­ra­phy’, which was inspired by the life of the poet Vita Sackville-West. The film harks back to some­thing of a lost gold­en age in the British film indus­try, when non-nar­ra­tive films were the order of the day (think Jar­man, Ter­ence Davies, Chris Petit, etc), and it stands up as a bold exper­i­ment in telling a sto­ry which rejects the con­ven­tion­al three-act struc­tures of film with­out ever stray­ing into a work you’d describe as alien­at­ing or obscure. And, it’s a film in which every pen­ny of its bud­get appears on screen. David Jenk­ins

I’ve lost count of how many times I’ve watched Wayne’s World. Yet it wasn’t until fair­ly recent­ly that I learned of the film’s trou­bled pro­duc­tion. Pri­or to 1992 direc­tor Pene­lope Spheeris was best known for her doc­u­men­tary work, which large­ly focused on Los Ange­les’ 80s punk rock scene. This, cou­pled with the rep­u­ta­tion she earned pro­duc­ing for Albert Brooks on the first series of Sat­ur­day Night Live, made her the ide­al can­di­date to helm fel­low SNL alum­ni Mike Myers’ big screen debut. But the pair report­ed­ly came to blows over the final cut, and Spheeris has since blamed Myers for pre­vent­ing her from direct­ing the 1993 sequel. The pair (along with Dana Car­vey, who also fell out with Myers while mak­ing the film) seem­ing­ly put an end to their long-run­ning feud when they appeared on stage togeth­er at a reunion screen­ing in 2013. Some two decades on from its orig­i­nal release, the prod­uct of their tur­bu­lent cre­ative union con­tin­ues to test very high on the like­abil­i­ty scale. Adam Wood­ward

Paul Thomas Anderson’s Punch-Drunk Love is the best Adam San­dler movie, but this one comes in at a dan­ger­ous­ly close sec­ond. From its open­ing scenes of the dim-brained heir to a lux­u­ry hotel chain float­ing in a gar­den water fea­ture on a rub­ber ring and engag­ing in a Pin­ter-esqe dia­logue with a bot­tle of sun­tan lotion, it’s obvi­ous we’re in for some­thing rad­i­cal (in both sens­es of the word). The sto­ry sees né’er-do-well Bil­ly sent back to high school as a way in which to prove his basic aca­d­e­m­ic com­pe­ten­cy, and it’s just a great excuse to pile joke upon joke upon joke. Some may cred­it Sandler’s grotesque but love­able cen­tral turn as the main mag­net for laugh­ter – espe­cial­ly the strange way that he con­stant­ly sug­gests his idio­cy is a put-on – but there’s no doubt that Tam­ra Davis’ intu­itive and snap­py direc­tion help to bring out the best in her divi­sive star. And it’s not just the fram­ing and the rhythm which make the film work so well, it’s the rep­e­ti­tions and call-backs and delayed punch­lines and bathet­ic edits too. Favourite quote: O’Doyle, I’ve got a feel­ing your whole fam­i­ly is going down.” DJ

Before Kathryn Bigelow was the first woman to win an Oscar for Best Direc­tor, she was the first to win the sci-fi Sat­urn Award for same. You Know You Want It” read the tagline for this movie, which fetishised the tor­ment­ed sex­u­al­i­ty of Ralph Fiennes, Juli­ette Lewis and Angela Bas­sett amid a daz­zling­ly chaot­ic pur­ple-green tech­no-future. But the movie flopped finan­cial­ly, despite dia­logue that inspired Fat­boy Slim’s Right Here, Right Now’, a punchy vir­tu­al-real­i­ty premise, a genre take on the LA riots, euphor­ic elec­tro music and one of James Cameron’s lean­est, most propul­sive screen­plays. Not to men­tion an orig­i­nal lex­i­con, of SQUIDs’, wire-trips’ and jack­ing in.’ The cyn­i­cal, digi-indus­tri­al cool of cyber­punk has rarely tak­en off with the mass­es, but this is its cin­e­mat­ic apoth­e­o­sis. Ian Mant­gani

Oh my God, I am major­ly, total­ly, butt crazy in love with Josh!” It’s been 20 years since Bev­er­ly Hills princess Cher Horowitz (Ali­cia Sil­ver­stone) realised that the col­lege boy was intern­ing for her dad’s law prac­tice (Ant-Man) might just be her Prince Charm­ing, and the world is still try­ing to work out the word­ing of her epiphany. Butt crazy” just wasn’t one of those things the kids said, and it still feels like a typo, exclud­ed from America’s proud tra­di­tion of flash-in-the-pan ver­nac­u­lar. But while so much of Amy Heckerling’s mod­ern spin on Emma’ is inex­tri­ca­ble from the plaid and boxy uni­verse of the 90s, this one mys­te­ri­ous glitch in the fab­ric of the film’s real­i­ty is just the most jar­ring of the many move­ments that make Clue­less too divorced from real­i­ty to be digest­ed as a sim­ple time cap­sule. From the Polaroid clos­et to the Pis­mo Beach dis­as­ter relief efforts, this is a deeply weird piece of work, and one that con­nects two dis­tinct eras of hero­ines by bub­bling with a life force all its own. DE

Ear­ly on in Jodie Foster’s Home for the Hol­i­days, Clau­dia (Hol­ly Hunter) leaves a mes­sage on her brother’s phone. She imme­di­ate­ly regrets con­fess­ing about her cur­rent dif­fi­cul­ties and, can­not believe [she has] said all this to a machine.” She hates machines. What Clau­dia longs for is a human being who will lis­ten and respond to her doubts. As we first encounter each fam­i­ly mem­ber dur­ing a Yule­tide get-togeth­er, their anx­i­eties and extrav­a­gant cop­ing strate­gies seem fair­ly stereo­typ­i­cal – and yes, robot­ic. But the film reveals a real­is­tic and ten­der sen­si­bil­i­ty through Claudia’s com­pas­sion­ate point of view. Rarely has a midlife cri­sis been depict­ed as that moment where a per­son plumbs the depths of their own psy­che, but also opens up to oth­er people’s man­ic atti­tudes to dis­cov­er their very human foun­da­tions. In the end, bet­ter under­stand­ing does not guar­an­tee rec­on­cil­i­a­tion, yet an exis­ten­tial ques­tion has been addressed: the point of life may be not to find its mean­ing, but rather to have peo­ple with whom to share our fears about what this mean­ing may be. Moments of joy serve to dis­pel the ques­tion alto­geth­er. Manuela Laz­ic

The dress fits the occa­sion, so per­haps it’s you that doesn’t fit the dress dear.” These are the words spo­ken towards kooky Philadel­phi­an Denise Waver­ly (Ileana Dou­glas) in Alli­son Anders’ delight­ful Grace of my Heart. They act as a pre­lude to the mis­for­tune of a female singer/​songwriter in this whim­si­cal, pop biopic loose­ly based on the life of music prodi­gy Car­ole King. The film flows ele­gant­ly, tran­si­tion­ing from the smooth 60s through to the psy­che­del­ic 70s, the point at which Denise takes stock of all the emo­tion­al tumult she’s expe­ri­enced and pours her pain into cre­at­ing the plat­inum sell­ing hit of the title. Dou­glas ele­gant­ly demon­strates Waverly’s bat­tle with her inner skep­ti­cism and cap­ti­vates through her exte­ri­or emo­tion­al vul­ner­a­bil­i­ty and inte­ri­or sense of resilience. Anders sen­si­tive­ly exhibits the evo­lu­tion of the tyran­ny of a woman’s endeav­our to shat­ter the glass ceil­ing’ and shift gen­der norms that were notably preva­lent of the time. Anders focus­es on the female empow­er­ment that sis­ter­ly bonds can bring about, evi­dent in the alliance between Denise and Eng­lish song­writer Cheryl Steed (Pat­sy Ken­sit). Anders’ fea­ture is one of female tri­umph in a cut­throat show­biz indus­try that’s monop­o­lised by male dom­i­nance. We know what that’s all about. Dora Den­sham-Bond

Some­thing of a lost trea­sure, Kasi Lem­mons’ debut fea­ture Eve’s Bay­ou showed great poten­tial, and should have sparked a quick rise to promi­nence for the actor turned writer/​director. Set in 1962, the film explores the adul­ter­ous exploits of Louis Batiste (Samuel L Jack­son), a doc­tor serv­ing an afflu­ent African-Amer­i­can com­mu­ni­ty in Louisiana. Recount­ed from the per­spec­tive of his youngest daugh­ter, Eve (Jurnee Smo), the sto­ry maps out the cat­a­stroph­ic impact of his schemes on the women in his fam­i­ly. Lem­mons illus­trates the woe of his wife (Lynn Whit­field), the obses­sion and des­o­la­tion of eldest daugh­ter, Cise­ly (Mea­gan Good), and the unyield­ing loy­al­ty of sis­ter, Mozelle (Deb­bi Mor­gan), with comedic elo­quence and gen­tle melan­choly. Doc­u­ment­ing every­thing from a first peri­od to the final stab of a father’s rejec­tion, this some­times dark, often rich­ly enter­tain­ing com­ing-of-age tale explores what it means to be a woman at the dif­fer­ent stages of life. Tahlia McK­in­non

Through mod­ern eyes, Deepa Mehta’s Fire might look like what the chil­dren of Web 2.0 might describe as prob­lem­at­ic”. And not because of its com­bustible (sor­ry) sub­ject mat­ter, but the fact that, for­mal­ly, it looks and sounds some­what dat­ed. But maybe the film works best as a time­piece, a mon­u­ment to its own con­ser­v­a­tive-bait­ing sub­ject mat­ter which hit audi­ences in 90s India like a pool cue to the tem­ple. A young woman enters into an arranged mar­riage with an almost com­i­cal­ly evil guy – he runs a grocer’s shop and video rental store which stocks such choice adult titles as The Joy Suck Club. His broth­er is also a scoundrel, in thrall to the teach­ings of a quack guru and under­tak­ing a life-long vow of celiba­cy, much to the cha­grin of his tor­tured wife. When these two women get togeth­er in pri­vate and begin dis­cussing their abject dis­sat­is­fac­tion with life, up goes the mos­qui­to net, soft goes the focus, and for­bid­den is the love that blos­soms. As tonal­ly hys­ter­i­cal as it all some­times seems, Fire is one of the most rad­i­cal works to grace this list, as it lit­er­al­ly incit­ed pres­sure groups to bom­bard screen­ings, tear up the seats and demand and end to this amoral filth. Which can only be a good thing. DJ

Read more 100 great movies by female direc­tors: 1 – 10 | 11 – 20 | 21 – 30 | 31 – 40 | 51 – 60 | 61 – 70 | 71 – 80 | 81 – 9091 – 100

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