Closing the 2020 Glasgow Film Festival is Coky Giedroyc’s adaptation of Caitlin Moran’s “How to Build a Girl” (2019). With a festival that has produced so many great new films by female filmmakers and has advocated diversity in cinema since its inception, it’s appropriate to have the closing film concern the journey of a maturing young woman - the building of a girl if you will. The end result film that is flawed, but nonetheless mature and fun. Beanie Feldstein is one of the most delightful people walking the earth right now, and her role in this film continues to prove this. Putting on a surprisingly good Warwickshire accent, she is Johanna Morigan, a sixth former who aspires to great things, looking to her wall of heroes - including Jo March, Maria von Trapp and Karl Marx - for guidance. A skilled writer, she submits a review for the “Annie” soundtrack at a weekly music magazine to buy back the family TV. Though initially baffled by this, the magazine eventually hires Johanna where Johanna dons the pen name Dolly Wilde to take her sudden new career to new, and life learning, heights.
“Hava, Maryam, Ayesha” is a film about the everyday struggles of three Afghan women – specifically in relation to patriarchy, marriage and pregnancy – directed and co-written by fellow Afghan woman Sahraa Karimi. In its opening section, focusing on Hava (played by Arezoo Ariapoor), the film makes its focus on the everyday very clear with a documentary-like realism. A frequently handheld camera that shows the routines and chores Hava spends her days performing in full, unbroken takes. Her laboured, exhausted breathing makes up a large part of the film’s soundscape in this segment as she is belittled by the men around her and treated like a disrespected employee rather than a family member.
“Make Up” is the feature debut for English writer/director Claire Oakley. A horror/drama film about a teenage girl tangling with her own emotions and relationships in a Cornish caravan park as surreal occurrences start to untangle her sense of reality. The film starts very promisingly, as protagonist Ruth (played by Molly Windsor) arrives at the caravan park in the middle of the night. The film starts building a surreal atmosphere early, as many of the side characters speak in slightly odd, unnatural dialogue in a way that feels intentional. Wide shots and lateral tracks are frequently used to add to this unsettling air as Ruth starts to believe that her boyfriend Tom (Joseph Quinn) is cheating on her.
The person introducing “Two of Us” (aka “Deux”) to audiences at the Glasgow Film Festival made sure to note the film’s confident filmmaking from feature debut writer/director Filippo Meneghetti. This was an incredibly accurate assessment. The film’s extensive use of Spielbergian oners and dramatic push-ins is emblematic of a creator with full control of their toolbox of cinematic tricks without feeling the need to over-indulge or show-off. Meneghetti deftly uses restraint to create intrigue and suspense in this small, personal story. But key to making this film as engaging as it is are the lead performances of Barbara Sukowa and Martine Chevallier who perfectly play their roles as an elderly queer couple kept apart by tragic circumstance and the bigotry of those around them.
Edinburgh based writer/director Eva Reilly has made a compassionate coming-of-age story that brims with legitimacy with her debut feature, “Perfect 10” (2019). A Brighton-set feature that recalls such films as Andrea Arnold’s “Fish Tank” (2009), this is a confident start to a filmmaking career. It displays natural talent and an abundance of promise for growth, for the director and main star alike. Paralleling Reilly’s debut is star Frankie Box giving her first feature performance. She plays Leigh, a gifted teenage gymnast who is suffering. Her passion for sport has slowly dissipated, drained bit by bit by a broken, neglectful home life and the other gymnasts referring to her as a “charity case”. One day, an older boy named Joe (Alfie Deegan) enters her home and reveals that they are half-siblings. This unexpected development drastically changes Leigh’s life for better and for worse.
Year: 2019 Runtime: 97 Minutes Director: Antoneta Kastrati Writers: Casey Cooper Johnson, Antoneta Kastrati Stars: Adriana Matoshi, Astrit Kabashi, Fatmire Sahiti By Calum Cooper The Kosovan drama “Zana” (2019) is an utterly devastating watch. It is a film that intertwines the past and present to categorically display the long term effects of trauma with blistering... Continue Reading →
Moving drama "Lost Transmissions" (2020) is Katharine O'Brien's debut feature about one man's struggle with schizophrenia in a healthcare system ill-equipped to help. Theo (Simon Pegg) is a music producer who stops taking his medication and begins a rapid downward spiral, losing grip on reality and getting into increasingly dangerous situations. His friend Hannah (Juno Temple) chases him through LA and psychiatric institutions to try to get him the support he needs but is thwarted by an inadequate healthcare system. Based on writer-director Katharine O'Brien's experiences of trying to support her own friend who went off his medication, the film is deeply affecting. It highlights the difficulties that people suffering from mental health conditions, and their loved ones face. I spoke with Katharine at the Glasgow Film Festival 2020.
Lucy Brydon’s “Body of Water” (2020) is a terrific film with sage, meditative weight on its shoulders. Its subject matter is an issue that requires a level of sensitivity to properly address. Brydon herself commented about the horrific fetishisation of such a subject in popular culture during the Q&A after the film. By refusing to fall in line with such trends, she has crafted a film that is simultaneously cathartic and melancholic. Sian Brooke plays Stephanie, a woman who is seen leaving a care facility at the start of the film. She has been grappling with an eating disorder but appears ready to return home. Waiting for her is her mother Susan (Amanda Burton) - who is about to marry her new partner - and her teenage daughter Pearl (Fabienne Piolini-Castle). Her relationship with both has been fractured due to her struggles with her disorder. Upon her return, Stephanie must put the pieces back together while also dealing with the threat of relapse.
In this debut feature by director Mounia Meddour, “Papicha” (2019) is about Algerian girls in the late 1990s trying to cling to freedom and self expression during a rise of an extremely conservative Islamic fundamentalism that literally threatens their lives. Nedjma (Lyna Khoudri) lives and studies at a women’s university where there is a culture of sisterhood and fun. The girls sneak out to go drinking and dancing at night, are boisterous and play practical jokes. They’re mostly carefree but cautious of having to lie to police and cover their heads if they are stopped. She loves fashion and is constantly sketching new ideas and making clothes for her peers, selling them out of a nightclub bathroom.