The fact that writer-director Ana Lily Armipour’s genre-hopping A Girl Walks Home Alone At Night (2014) ranks so highly in ITOL’s top 50 films by women of the decade list is a testament to its originality, cult appeal, and fang-sharp social commentary. Billed as an Iranian Vampire Western, and set in the fictional Bad City, it nods to a myriad of influences from classic horror and film noir, to Tarantino, comic books and David Lynch- clanking industrial images and sounds loom large and fever-dream music-sequences are woven throughout.
Kathryn Bigelow is a woman of action. The director, who turns 68 on Nov. 27, is known for training her eye on vampires, cops, surfing bank robbers, and especially soldiers—but she’s not merely after an adrenaline rush. Rather, the first—and still only—woman to win an Academy Award for Best Director with 2008’s "The Hurt Locker" is drawn to the circumstances surrounding violence, as well as characters’ choices. “I don’t like violence. I am very interested, however, in truth. And violence is a fact of our lives, a part of the social context in which we live,” she’s said.
With her third feature film, Maren Ade announced herself on to the international scene during 2016, with her robust, confounding comedy of delicate, deliberate and disastrously strained parental ties. A thematic notion achieved with such success is not often seen in cinema, capturing the fraught emotional bonds of a career-driven daughter and her aloof father. As varying dynamics exist in relationships between adulthood and childhood and vice versa, very few directors have successfully articulated and dramatised them as well as Ade. A remarkable cinematic achievement, creating a film that is deeply human and tragically nostalgic and profound whilst absurdly comedic.
To capture the essence of the LGBTQ+ community is becoming a more popular narrative in contemporary cinema. But to be able to evidence their struggles and hardships, whilst also attaining a light-hearted atmosphere, showing raw emotion, and enabling a true presentation of a situation that can be reflected into many of the audience’s daily lives, is what is lacking in many of these recent movies. Yet Desiree Akhavan presents all of this so effortlessly in her film "The Miseducation of Cameron Post". Being part of the LGBTQ+ community herself enabled significant support for Akhavan when she directed this beautiful narrative which follows friendships, betrayals and the exploration of sexualities.
Year: 2017 Runtime: 89 Minutes Director: Agnès Varda , JR Writer: Agnès Varda , JR Stars: Agnès Varda , JR By Caz Armstrong Euphoniously titled “Visages Villages” in the original French, this film won Varda a Best Documentary Oscar nomination, meaning she is the oldest person ever to have been nominated for an Oscar. “Faces... Continue Reading →
Year: 2010 Runtime: 106 Minutes Director: Lisa Cholodenoko Writer: Lisa Cholodenoko & Stuart Blumberg Stars: Annette Bening, Julianne Moore, Mia Wasikowska, Josh Hutcherson, Mark Ruffalo By Caz Armstrong “The Kids Are All Right” (2010), directed and co-written by Lisa Cholodenoko, is an expertly acted comedy-drama with complex emotions and a backdrop of a lesbian relationship.... Continue Reading →
We were very lucky to chat with Colin Stacy the founder of the fantastic Tees-en-scène, a wonderful t-shirt company that celebrates women in film, queer filmmakers and people of colour working in the industry. Their designs are really stylish, and more importantly they're helping to promote the work of filmmakers who have been ignored in the past. We would like to say thank you to Colin for his time and make sure to support Tees-en-scène.
On 30th October the nominations for the 2019 British Independent Film Awards were announced. In total 38 British feature films were nominated and the results will be announced on Sunday 1st December in a ceremony hosted by Aisling Bea. 40% of the nominations were for women and 60% for men - if you count a nomination for a film as a nomination for the director.
Slasher films have always been thought of as films that simply exist to rack up a body count and not much more. I’ve never agreed with that notion. There are multiple slasher films that have more going on underneath the surface. "The Slumber Party Massacre" series is no different. You could even say that there is more going on in these films than in most other slashers. Today I’m going to talk about how "The Slumber Party Massacre" series has much more to say about sexuality than it does about violence.