Female directors open and close the 2020 Glasgow… | Little White Lies

Festivals

Female direc­tors open and close the 2020 Glas­gow Film Festival

09 Jan 2020

Words by David Jenkins

Woman in glasses with a contemplative expression.
Woman in glasses with a contemplative expression.
Alice Winocour’s Prox­i­ma and Coky Giedroyc’s How to Build a Girl are among the high­lights of the 16th GFF.

It real­ly doesn’t take that much thought and effort to embrace a pro­gres­sive out­look when it comes to arts pro­gram­ming. Some­one from the Glas­gow Film Fes­ti­val should maybe mosey on down to BAF­TA and show them how sim­ple it is to make deci­sions that acknowl­edge qual­i­ty while embrac­ing diver­si­ty at the same time.

No excus­es: just an accep­tance of the fact that blaz­ing a per­son­al trail is far more excit­ing for every­one than just rehash­ing the same old tired con­tent that’s been hailed to the heav­ens elsewhere.

Get more Lit­tle White Lies

Alice Winecour’s Prox­i­ma is set to open the 2020 GFF, which kicks off on 26 Feb­ru­ary, while Coky Giedroyc’s How to Build a Girl will bring the par­ty to a close on 8 March. Both films focus on young women fight­ing against the patri­archy in their respec­tive pro­fes­sion­al fields, with Eva Green train­ing to become an astro­naut while also jug­gling with fam­i­ly com­mit­ments in Prox­i­ma, and Beanie Feld­stein attempt­ing to crack the male-dom­i­nat­ed world of rock jour­nal­ism in How to Build a Girl.

Look out lat­er this month for the full pro­gramme announce­ment, and we’ll also be on hand to report from this year’s festival.

Tick­ets for Open­ing and Clos­ing Galas go on sale at 12pm on Mon­day 13 Jan­u­ary via glas​gow​film​.org and the GFT box office.

You might like

Two people in casual clothes, one wearing a red top, chatting outdoors; people sitting at tables indoors, some playing musical instruments.
Festivals

Temporal Sensibilities: Queering timelines and nostalgia

by Yuki Yoshikawa, Pear Nual­lak

In col­lab­o­ra­tion with the Queer East Film Fes­ti­val, our sec­ond pair from the Emerg­ing Crit­ics cohort offer their thoughts on this year’s programme.
A collage of scenes from a film, including a man in traditional Japanese dress, a woman in a revealing dress, and various other characters in action.
Festivals

This Must Be the Place: A Queer East Correspondence

by Qinghan Chen, Lydia Leung

In col­lab­o­ra­tion with the Queer East Film Fes­ti­val, this year’s Emerg­ing Crit­ics cohort offer their respons­es to the film programme.
Silhouette of a person seated on a bench in a misty, blue-toned environment.
Festivals

Resurrection – first-look review

by Hannah Strong

Bi Gan’s third fea­ture is an epic in every sense of the word, tak­ing view­ers on a sprawl­ing odyssey through cinema.
Man in a flat cap, wearing a brown coat, standing in a snowy street next to a parked car.
Festivals

The Mastermind – first-look review

by Hannah Strong

An art theft spells dis­as­ter for Josh O’Con­nor in Kel­ly Reichardt’s excel­lent Viet­nam-era heist dramedy.
A young woman wearing a red jacket and shorts stands in the middle of a crowd of people lying on the ground.
Festivals

The Wave – first-look review

by Rafa Sales Ross

Sebastián Lelio’s musi­cal take on Chile’s MeToo move­ment is a mis­judged gum-smack­ing mess.
A woman in a long, red floral dress stands in front of a building with a "Gym's" sign. A car is visible in the background.
Festivals

Honey Don’t! – first-look review

by David Jenkins

The sec­ond instal­ment of Ethan Coen and Tri­cia Cooke’s les­bian genre film tril­o­gy man­ages to just about snag a pass­ing grade.