100 great movies by female directors – part 6 | Little White Lies

Women In Film

100 great movies by female direc­tors – part 6

17 Jul 2015

Close-up of film reels and cinema-related imagery along with text reading "100 GREAT MOVIES BY FEMALE DIRECTORS 51-60".
Close-up of film reels and cinema-related imagery along with text reading "100 GREAT MOVIES BY FEMALE DIRECTORS 51-60".
Rid­ing whales, Huey Lewis and can­ni­bal­ism crop up in the sixth part of our epic countdown.

Kim Longinotto’s doc­u­men­taries can be loose­ly divid­ed into two camps: ones that embed in the mean­der­ing dai­ly details of spe­cif­ic com­mu­ni­ties, and ones that focus on sys­temic process­es. Divorce Iran­ian Style gets the clos­est to the heart of misog­y­nis­tic pow­er than any of her oth­er films, bear­ing wit­ness as the cas­es of women seek­ing divorce are adju­di­cat­ed over with swift and sweep­ing judge­ments, often based on cus­tom over well­be­ing. Divorce, Iran­ian-style seems so casu­al and unself­con­scious in the viewfind­er of Longinotto’s cam­era. Long before Ash­gar Farha­di brought us A Sep­a­ra­tion, the urgent need for scruti­ny had been flagged. While large­ly stay­ing in the court build­ing, Longinotto’s innate empa­thy and desire to sub­stan­ti­ate the peo­ple she doc­u­ments means that she spends time with the female divorce-seek­ers, explor­ing the full details of their lives and sit­u­a­tions and under­stand­ing in more detail than the judges will ever know what free­dom from their spous­es could mean. Sophie Monks Kaufman

Xiu Xiu: The Sent-Down Girl hasn’t always received the same crit­i­cal respect as the 90s oth­er major films about the Cul­tur­al Rev­o­lu­tion, in part because it was harm­ful­ly assumed that direc­tor Joan Chen – who was and still is best known to the West­ern world for her play­ing Josie Packard in Twin Peaks – was not a seri­ous” artist whose work deserved to be con­sid­ered in the same breath as that of Tian Zhuangzhuang (The Blue Kite) or Zhang Yimou (To Live). Xiu Xiu, which is rather broad­ly acces­si­ble for a com­ing-of-age dra­ma about a teenage girl who is relo­cat­ed to remotest Chi­na as part of a Com­mu­nist ini­tia­tive, was seen as a Mira­max telling of its sto­ry. In real­i­ty, Chen’s heart­break­ing pas­toral tragedy (which is now near­ly impos­si­ble to find in a for­mat that pre­serves its orig­i­nal beau­ty), uses its crisp emo­tion­al beats to bold­ly advance the fem­i­nist stir­rings of China’s 5th Gen­er­a­tion film­mak­ers. Today, the film doesn’t only feel like an authen­tic prod­uct of her birth country’s past, but also a heav­en­ly emblem of what the glob­al com­mu­ni­ty still aspires towards for our col­lec­tive future. David Ehrlich

It’s aston­ish­ing to think that Sami­ra Makhmalbaf’s The Apple is not only a debut film – shot in just 11 days – but also the work of an eigh­teen year old. (Not to be out­done, her younger sis­ter Hana direct­ed her first film at 15.) Blur­ring the lines between doc­u­men­tary and fic­tion to con­fronta­tion­al effect, the film was an imme­di­ate response to a nation­al­ly report­ed news sto­ry, in which an Iran­ian father had kept his blind wife and two young daugh­ters under house arrest, with no out­side social con­tact. Makhmal­baf re-stages the provin­cial dra­ma with the actu­al fam­i­ly, the use of the two dis­abled girls draw­ing crit­i­cism at home and abroad. The eth­i­cal ques­tions of The Apple’s approach remain for each indi­vid­ual view­er, but there’s no deny­ing the metaphor for the wider patri­ar­chal val­ue sys­tem it decries, nor the sym­bol­ism with which its imbued, as rich as its visu­al poet­ry is ele­gant­ly sim­ple. Matthew Thrift

It is hard to dis­tin­guish Kim­ber­ley Peirce’s filmic drama­ti­sa­tion of the Bran­don Teena sto­ry from Hilary Swank’s cen­tral per­for­mance. Inas­much as the sto­ry hinges around a bru­tal tragedy, it’s also a ves­sel for a fas­ci­nat­ing trans char­ac­ter, explored with utter com­mit­ment and beguil­ing believ­abil­i­ty by Swank. Peirce under­stood the impor­tance of cast­ing the right per­son and inter­viewed hun­dreds of actress­es over a three-year peri­od. Swank lived as a man for a month pri­or to the shoot, strap­ping and pack­ing” (her words). She took as her entry point human­i­ty rather than gen­der. Her Bran­don exudes a pas­sion­ate life force and a flir­ta­tious charis­ma. Attrac­tion between Bran­don and Lana (Chloë Sevi­gny) blooms in the dank Nebraskan nowheresville in which the only pas­time is get­ting fucked up. Their tiny flame would seem vul­ner­a­ble in the men­ac­ing com­pa­ny of the increas­ing­ly unhinged, John (Peter Saars­gard) in par­tic­u­lar. That the audi­ence is in on the secret of Brandon’s female anato­my adds an almost unbear­able lev­el of dra­mat­ic irony. Peirce nev­er gives in to trashy thriller tac­tics, even as the threat lev­el ris­es. Boys Don’t Cry car­ries the full neg­a­tive weight of intol­er­ance while nev­er los­ing sight of Brandon’s sense of self-deter­mi­na­tion and capac­i­ty to love. Sophie Monks Kaufman

In Octo­ber of 2013, news came down the wires that the British direc­tor Anto­nia Bird had died. It was all the more shock­ing because she had shunned the lime­light from the begin­ning of the 00s, a lime­light many thought the movie world would have been hap­py for her to bask in on the back of films like 1994’s Priest and 1997’s Face. Her best work, though, was also her most high pro­file, a strange, metaphor­i­cal­ly fecund goth­ic hor­ror film which depict­ed human flesh as a strength-pos­sess­ing elixir, thus caus­ing two sol­diers post­ed in a far-flung Sier­ra Nevadan out­post to gob­ble down their fill. Star­ring Guy Pearce and Robert Car­lyle (going full Beg­bie), Bird’s film is mem­o­rable because of its count­less idio­syn­crasies: the delib­er­ate pac­ing of the sto­ry; the pit­ting of two anti-hero­ic char­ac­ters against one anoth­er; the insid­i­ous homo­erot­ic sub­text, and an extreme­ly eerie sound­track by Damon Albarn and Michael Nyman. David Jenk­ins

Men in uni­forms, in the burn­ing desert, car­ry­ing out phys­i­cal train­ing. On a pure­ly visu­al lev­el, Beau Tra­vail already ticks all the box­es of a gor­geous movie, but Denis avoids the pit­falls of super­fi­cial­i­ty this approach often entails, as the beau­ty of the image con­sti­tutes the film’s rai­son d’être. In this sto­ry of desire, form and con­tent, image and plot are insep­a­ra­ble. The cam­era of cin­e­matog­ra­ph­er Agnès Godard watch­es these men like an enam­oured view­er, main­tain­ing a per­pet­u­al erot­ic ten­sion between hold­ing on and let­ting go, seek­ing them out with a des­per­ate insis­tence, as if afraid of los­ing them off frame, but also care­ful­ly allow­ing them move across the screen. If the sus­tained sen­su­al­i­ty of the image evokes the aes­thet­ic of female plea­sure itself, it is also an over­whelm­ing­ly exhaus­tive use of the basics of mise en scène. As opposed to the male” cin­e­ma of plots and sto­ries, cor­po­re­al­ly-inclined female film­mak­ers such as Denis point towards a rec­on­cil­i­a­tion of cin­e­ma with its own mate­r­i­al basis in the image. Ele­na Lazic

Even Liv Ullmann’s most recent film, an adap­ta­tion of Strindberg’s Miss Julie (still crim­i­nal­ly unre­leased in the UK), with its tight walls bear­ing down on the fraught psy­chodra­ma with­in, car­ries the ghost of Ing­mar Bergman. It’s not just my artis­tic life that’s inter­twined with his,” she told Roger Ebert, but my whole life.” One of the most gift­ed actors of the 20th cen­tu­ry, Ull­mann was the Swedish titan’s lover, muse and fre­quent lead­ing lady, and Faith­less in many ways their most naked­ly auto­bi­o­graph­i­cal col­lab­o­ra­tion. An age­ing film­mak­er (cred­it­ed as Bergman) con­jures the ghost of a past lover, exor­cis­ing his guilt through a work-in-progress. A Brecht­ian fram­ing device sees the cou­ple enact a ret­ro­spec­tive ther­a­py, as episodes from the past (the film?) play out like Ullmann’s Scenes From an Affair. Bergman’s screen­play charts the arc of self-inflict­ed destruc­tion – the for­ward march into inevitabil­i­ty – but it’s Ull­man who finds the nuance, the ges­tures and micro-sparks of emo­tion­al con­nec­tion and with­draw­al that lead inex­orably to tragedy. MT

With Amer­i­can Psy­cho, Mary Har­ron acknowl­edged the lim­i­ta­tions of adap­ta­tion while simul­ta­ne­ous­ly play­ing to its inher­ent strengths. Eschew­ing the dis­tinct strain of melan­cho­lia in Bret Eas­t­on Ellis’ infa­mous nov­el – a result of autho­r­i­al cathar­sis born of famil­ial strife – Har­ron choos­es to focus on the book’s more elab­o­rate com­ic grotes­querie, find­ing vast rich­es in the its pre­oc­cu­pa­tion with appear­ances. Har­ron recog­nis­es that Patrick Bate­man – the tit­u­lar homi­ci­dal stock­bro­ker – is a char­ac­ter defined entire­ly by his actions, and his lack of an inner life makes him ripe for cin­e­mat­ic tran­si­tion. Ellis’ more per­son­al flour­ish­es are tem­pered, thus root­ing the film entire­ly in Bateman’s sub­jec­tiv­i­ty. He is a ves­sel of fas­tid­i­ous­ness which fre­quent­ly tips into mania, and Har­ron pitch­es the pic­ture some­where between these fluc­tu­at­ing states. As the film shifts from Patrick’s hilar­i­ous­ly over­wrought metic­u­lous­ness to the gid­dy, car­toon­ish vio­lence, Har­ron holds it togeth­er by main­tain­ing an arch, iron­ic tone through­out. Her con­trol is impres­sive­ly unwa­ver­ing. Craig Williams

Cather­ine Breil­lat makes films about the dif­fi­cult total­i­ty of sex; they are relent­less in their pur­suit of an ide­al phys­i­cal com­mu­nion divorced from the onus of romance. Her focus has always been on female sex­u­al­i­ty seek­ing to shed itself of the bur­den of roman­tic and mater­nal expec­ta­tions. Hers is a cin­e­ma of bold phys­i­cal­i­ty and exact­ing philo­soph­i­cal rigour, unflinch­ing in the face of hor­ror. Where her mas­ter­ful 1999 film Romance sought to shed emo­tion­al fault­lines alto­geth­er, A Ma Soeur! chan­neled them into approx­i­ma­tions of soro­ral affec­tion ren­dered with some­thing approach­ing sym­pa­thy. It is a sto­ry of sex­u­al awak­en­ing by proxy, with 12-year-old Anaïs watch­ing her 15-year-old sister’s sum­mer fling with grim fas­ci­na­tion. Breillat’s ruth­less­ness is ini­tial­ly for­sak­en for a sense of blunt curios­i­ty before even­tu­al­ly giv­ing way to a hor­rif­ic finale. It is a moment of dis­tress­ing coa­les­cence where the director’s vision comes full cir­cle; wor­ry­ing­ly nihilis­tic per­haps, but cer­tain­ly unfor­get­table. CW

It is no faint praise to say that Nicole Holofcener is eli­gi­ble for the man­tle of the female Richard Lin­klater’ due to the breezy but affec­tive nature of her world-build­ing. Love­ly & Amaz­ing, her sec­ond fea­ture, is a slice-of-life ensem­ble dra­ma which pass­es by in a suc­ces­sion of fresh moments. As is her wont, Holofcener assem­bles a cast of bril­liant, slight­ly under-the-radar actors who come togeth­er believ­ably as a dis­cor­dant fam­i­ly unit. Bren­da Blethyn is the hos­pi­talised moth­er to Cather­ine Keen­er (Holofcener’s muse), Emi­ly Mor­timer and Raven Good­win. Her daugh­ters are artis­ti­cal­ly inclined drifters with enough pride to push back on the norms of their world around them. Com­ic vignettes linger, as do the poignant ones. A young Jake Gyl­lan­haal pops up in the One Hour Pho­to where a down-on-her-luck Keen­er takes a job, and his crush leads to a slew of ridicu­lous, enjoy­able and inap­pro­pri­ate sce­nar­ios. Noth­ing ever real­ly works out as planned in Love­ly & Amaz­ing but char­ac­ters beat on any­way with endear­ing lais­sez faire. SMK

Read more 100 great movies by female direc­tors: 1 – 10 | 11 – 20 | 21 – 30 | 31 – 40 | 41 – 50 | 61 – 70 | 71 – 80 | 81 – 9091 – 100

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