Tag Archive | spirituality

WHAT I LEARNED FROM A YEAR OF FILMS BY WOMEN

 

Ocean Waif

In October of 2015, Women in Film Los Angeles launched a challenge that asked people to watch one film a week by a woman for a year and to share and discuss those films on social media. To date they’ve reached over 11,000 pledges and are still going strong.

What I’ve learned from my year of women-directed films is much the same as what I’m hearing from everyone else–namely, that you really have to dig if you want to consistently discover female filmmakers. Here are my observations from the year:

  • I wanted to watch current films, not just the standards that everyone already knows. It was much easier to find independent films with female directors; very difficult to find mainstream studio films. The Wrap recently released this stat:

    …of the 149 movies currently slated for a wide release from the six legacy studios over the next three years, only 12 have female directors. That means a whopping 92 percent of the major motion pictures due in theaters through the end of 2019 will be helmed by men.

  • Sometimes I couldn’t find a narrative feature at all and that’s when I started filling out my year with shorts and documentaries–both of which are much more prolific in terms of female directors. Once again, it all comes back to money and opportunity. What can you make when you have neither? I scoured other people’s lists to see what they were watching and the same films came up over and over again (as they will on my list too). There were limited choices; sometimes nothing appealed to me and I had to go outside the box to find something I wanted to watch.
  • This process of deliberately watching films from female perspective is what finally drove home to me how much of my life–and the lives of all women–have been shaped by the male gaze and point-of-view. Our stories are not being told and so, because we don’t see ourselves on screen or the potential for what we can be on screen, we often don’t see another choice but to accept and perpetuate the myths and stereotypes of what a woman is or what she can and should be. Of course there are many exceptions (thank you, new Star Wars franchise) and media is not the only thing that shapes a life but I’d never before realized just how critical a role it actually did play for me. What could the world look like for future generations of women if we were truly represented?
  • One of my reasons for taking the pledge was to find a director for my own feature project. I fell in love with a lot of new filmmakers but one issue remains: most of them don’t have the breadth of experience that male filmmakers have and may require a leap of faith. Years and years go by between most women’s first and second features…sometimes more years than you can believe and it’s actually tragic how long it takes for a woman to find the funding or opportunity to make one film, let alone several.
  • A highlight: Ashley Judd seeing my blog about her film Come Early Morning (one of my all-time favorites) and writing a lovely comment to me on Facebook.
  • I watched 35 Narrative Features, 8 Narrative Shorts, 6 Documentary Features and 3 Documentary Shorts.
  • My Top Five new films that I discovered and highly recommend are: Stray Dog (Documentary Feature) by Debra Granik, Into the Forest (Narrative Feature) by Patricia Rozema, Hostile Border (Narrative Feature) by Kaitlin McLaughlin & Michael Dwyer, Cigarette Candy (Narrative Short) by Laura Wolkstein and Emotional Fusebox (Narrative Short) by Rachel Tunnard.
  • I remain committed to working with women directors and am very inspired and excited by the prospect. I also remain committed to seeking out films by women on a regular basis and especially to supporting them at the box office and on social media–two places where it counts.
  • Join the movement and take your own #52FilmsByWomen pledge HERE.

The Films

LOVE & BASKETBALL (Narrative Feature) / Directed by Gina Prince-Blythewood

OBSELIDIA (Narrative Feature) / Directed by Diane Bell

BLEEDING HEART (Narrative Feature) / Directed by Diane Bell

GAS FOOD LODGING (Narrative Feature) / Directed by Allison Anders

STORIES WE TELL (Documentary Feature) / Directed by Sarah Polley

COME EARLY MORNING (Narrative Feature) / Directed by Joey Lauren Adams

SELMA (Narrative Feature) / Directed by Ana DuVernay

STRAY DOG (Documentary Feature) / Directed by Debra Granik

ANOTHER KIND OF GIRL (Documentary Short) / Directed by Khaldia Jibawi

JANIS: LITTLE GIRL BLUE (Documentary Feature) / Directed by Amy J. Berg

I DON’T CARE (Narrative Short) / Directed by Carolina Giammetta

LIFE IN COLOR (Narrative Feature) / Directed by Katharine Emmer

ADVANTAGEOUS (Narrative Feature) / Directed by Jennifer Phang

THE INTERN (Narrative Feature) / Directed by Nancy Meyers

HOSTILE BORDER (Narrative Feature) / Co-Directed by Kaitlin McLaughlin & Michael Dwyer

TOUCH (Narrative Short) / Directed by Jen McGowan

SPEED DATING (Narrative Short) / Directed by Meghann Artes

BELLE (Narrative Feature) / Directed by Amma Asante

GIRLHOOD (Narrative Feature) / Directed by Celine Sciamma

ENOUGH SAID (Narrative Feature) / Directed by Nicole Holofcener

HOTEL 22 (Documentary Short) / Directed by Elizabeth Lo

MIELE (Narrative Feature) / Directed by Valeria Golino

SEQUIN RAZE (Narrative Short) / Directed by Sarah Gertrude Shapiro

EMOTIONAL FUSEBOX (Narrative Short) / Directed by Rachel Tunnard

CIGARETTE CANDY (Narrative Short) / Directed by Lauren Wolkstein

WAITRESS (Narrative Feature) / Directed by Adrienne Shelly

THE PIG CHILD (Narrative Short) / Directed by Lucy Campbell

WATER (Narrative Feature) / Directed by Deepa Mehta

TALLULAH (Narrative Feature) / Directed by Sian Heder

WOMEN HE’S UNDRESSED (Documentary Feature) / Directed by Gillian Armstrong

FANGIRL (Documentary Short) / Directed by Liza Mandelup

ALWAYS WORTHY (Narrative Feature) / Directed by Marianna Palka

STRANGERLAND (Narrative Feature) / Directed by Kim Farrant

BONESHAKER (Narrative Short) / Directed by Frances Bodomo

PINE RIDGE (Documentary Feature) / Directed by Anna Eborn

BRIDGET JONES’S BABY (Narrative Feature) / Directed by Sharon Maguire

IMAGINE I’M BEAUTIFUL (Narrative Feature) / Directed by Meredith Edwards

BIG STONE GAP (Narrative Feature) / Directed by Adriana Trigiani

CERTAIN WOMEN (Narrative Feature) / Directed by Kelly Reichardt

SUFFRAGETTE (Narrative Feature) / Directed by Sarah Gavron

OPERATOR (Narrative Feature) / Directed by Logan Kibens

RED ROVER (Narrative Feature) / Directed by Brooke Goldfinch

INTO THE FOREST (Narrative Feature) / Directed by Patricia Rozema

BRIGHT STAR (Narrative Feature) / Directed by Jane Campion

ALWAYS SHINE (Narrative Feature) / Directed by Sophia Takal

IT HAD TO BE YOU (Narrative Feature) / Directed by Sasha Gordon

AMERICAN HONEY (Narrative Feature) / Directed by Andrea Arnold

THE DRESSMAKER (Narrative Feature) / Directed by Jocelyn Moorhouse

LEARNING TO DRIVE (Narrative Feature) / Directed by Isabel Coixet

THE WINDING STREAM (Documentary Feature) / Directed by Beth Harrington

THE INTERVENTION (Narrative Feature) / Directed by Clea Duvall

DESERTED (Narrative Feature) / Directed by Ashley Avis

#52FilmsByWomen: BONESHAKER

boneshaker

34/52 BONESHAKER

Writer/Director Frances Bodomo created a stunning short film that follows a Ghanaian family who take their restless granddaughter to a tent revival deep in Louisiana to get her “slain in the Spirit” and cured from her rebellion. This short premiered at the 2013 Sundance Film Festival, features a knock-out performance by young Quvenzhané Wallis (Beasts of the Southern Wild, 12 Years a Slave), and is evocatively shot on 16mm.

Bodomo made the film during her MFA program at NYU. Her subsequent short film, Afronauts, is currently being developed into a feature via the Sundance Directors Lab. This is a visionary filmmaker who I am thrilled to have discovered.

WATCH BONESHAKER 

BREATHING ROOM

RoomMy day jobs often feel like prisons I can’t escape from. I’m an artist who wants to use her entire being in service to creative work. I want to move my body, use my voice, express my emotions, exercise my sense of humor and engage in contemplative conversations. Unfortunately I spend most of my days sitting or standing at a desk, staring at data on a screen, listening to mind-numbing discussions about finance and trying to massage the shooting carpel tunnel pains out of my wrist. Some days no one says anything to me at all and almost never does anyone ask me how I’m doing or what’s going on in my world. These are survival jobs; and while I’ve been fortunate to work for good people who allow me the flexibility to pursue my dreams, it’s still been one of my greatest battles–to accept my circumstances, to make the best of them and to decide how to move forward wisely rather than rashly in the heat of an emotional moment.

For the past few days I’ve been dealing with a nightmare of an investor–someone who gets off on treating support staff like personal slaves, as if his money gives him the right and the power to treat other human beings as less than. I was inches away from throwing in the towel this morning–just chucking everything. It’s beyond difficult to deal with entitlement when you’ve spent your entire life with very limited resources and constant sacrifice just so you can pay some kind of honor to the thing inside of you that won’t go away–that won’t be satisfied with anything less than a life lived in service to art and expression. It’s hard to choose such a thorny path when, most likely, it won’t ever be validated by a materialistic culture. You get treated like you’re stupid, unskilled or limited– when, in fact, you are none of those things.

My first instinct is to get really angry, to shove my feelings down with whatever I happen to be eating or drinking and to fantasize about how to get revenge (unrealistic fantasies to be sure). It took everything in me to stop this morning and ask myself what I really needed. Then I went into the bathroom and cried and took a lot of deep breaths and said some prayers to the universe for help. I realized in those moments that I was honoring my truest artist self. I was letting my feelings express through my body and I was validating who I really am–not a peon employee but a fully valued human being. I stopped the spinning thoughts and got present, just the way I try to do when I act. I said, this is a new moment; let go of the old one. Sometimes important shifts happen not on stage or in front of an audience but in private, in the locked stall of a public restroom.

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