And, while women are being seen in more films, this doesn't necessarily mean they're being heard. Only 34% of all speaking roles went to women, a decrease of 1% from 2018.
It’s almost a cliché to write a thinkpiece about the lack of diversity in the latest set of Oscar nominations. Every year, The Academy of Motion Picture Arts and Sciences congratulates the best films that English-speaking cis-het white men produced in the preceding year, and also some of the bad ones too. Oh, and they’ll also throw in a meagre handful of films made by women, people of color, etc. The slate of nominees for the upcoming 2020 Academy Awards is exceptionally representative of this feet-dragging approach to representation and inclusivity.
Last year was probably one of the best years for film in quite some time. Throughout the entire fall, week after week, it felt like the phrase “oh, this is going to be in my top ten for sure” became incredibly common. From Bong-Ho Joon’s enthralling and mind-blowing depiction of class with “Parasite” to the box-office smashing end of the Infinity Saga with the Russo Brothers’ “Avengers: Endgame”, there were so many new kinds of stories and visions that constantly pushed genre boundaries. 2019 was especially a great year for female filmmakers as there was an onslaught of incredible films from both new and already established women in film.
During LFF 2019 I encountered many short films, there were many that I enjoyed but there was one that stayed with me long after the festival had ended. This film was "Rehearsal" written and directed by Courtney Hope Thérond, who very kindly agreed to talk to ITOL regarding her film and the it's production. During our interview we discussed what inspired her to make the film, the issues concerning consent and what filmmakers inspired her. We would like to extend our thanks to Courtney and wish all the best of her luck with her future projects!
Every year, the Hollywood Foreign Press Association (HFPA) hosts the Golden Globes. The Golden Globes are used as a predictor for Oscar nominations. As always, there are only so many slots for each category. Not every actor, filmmaker, or movie can be nominated. But the Golden Globes typically proves to be pretty white and male dominated. This year, five male filmmakers were nominated for Best Director. Bong Joon-Ho, who directed “Parasite” (2019), is the only non-white person nominated. The other nominees, Sam Mendes, Todd Phillips, Martin Scorsese, and Quentin Tarantino are all white dudes. And, in my frank and honest and personal opinion, it is comprised of mediocre white film bros. Sue me. (Actually, please don’t. I have lots of student loans.)
Awards season is upon us! Many nominees and winners from multiple critics organizations have already been decided and on December 9th the nominees for the 77th Golden Globe Awards were announced. No huge surprises, maybe a few snubs, and a huge presence of films and tv shows from streaming services. Netflix received an impressive 35 nominations across 21 categories, including two prime contenders for Best Motion Picture - Drama. Unfortunately, something that seems to be an ongoing trend with the Golden Globes is their inability to recognize female filmmakers.
On 21st November Anita Sarkeesian tweeted to highlight the lack of female characters in the first episode of Disney’s new Star Wars show "The Mandalorian" and it caused an immediate backlash.
The discourse that’s still raging raises some fairly universal arguments which are worth exploring. It’s this discourse I want to focus on here, not the accuracy or otherwise of Sarkeesian’s tweet as I have not seen "The Mandalorian".
The 2020 Independent Spirit Awards nominations have recently been announced with Roger Eggers "The Lighthouse" and Benny Safdie and Josh Safdie's "Uncut Gems" being nominated for five awards including Best Director. The other big films to receive multiple nominations also include Alma Har’el's "Honey Boy" and Music Box’s comedy “Give Me Liberty”. Out of the... Continue Reading →
With all of the Scrooges out there bashing “Last Christmas” (2019), it seems that it is important to remind people that feel good movies are something we all need.
The flack “Last Christmas” is receiving is from Tarantino/Scorsese/Kubrick Film Bros (my assessment of the situation), who think that every movie needs to be riddled with piousness, plot points that make no sense, and toxic masculinity. So, when “Last Christmas” (2019) hit theaters, it certainly did not please this crowd.