In Two Friends, leads Emma Coles and Kris Bidenko deliver nuanced, ingenuous performances as polar opposites Louise and Kelly. The movie documents the dissolution of their childhood friendship following Louise's acceptance into an elite girls' academy that Kelly's stepfather refuses to let her attend. I chose 1986's Two Friends for a few reasons. Its status as an Australian TV movie is exceptional, though it screened at the Cannes Film Festival as well. Helen Garner's script unfolds in reverse chronology. Though she only wrote a few screenplays, Garner has since enjoyed a long career in her native Australia as a novelist and journalist. Finally, as a follow-up to Campion's breakthrough short film, A Girl's Own Story, Two Friends is one of Campion's few films to foreground the fragile nature of adolescence and female homosocial bonding. Typical of her output, it does so with nary a hint of condescension.
Today's entry is the first in the series to focus on the work of a female director. In the coming weeks, we'll discuss contributions from filmmakers like Jane Campion, Catherine Breillat, Deepa Mehta, Rachel Raimist, G.B. Jones, Lynne Ramsay, Julie Dash, and Courtney Hunt, among others. But Argentinian writer-director Lucrecia Martel more than deserves her place in that list of auspicious talent, as she demonstrates with 2008's haunting La mujer sin cabeza.
Monday's inaugural entry focused on a Palme d'Or winner. Thus it seems only appropriate to switch gears today and discuss a movie that was shelved for three years before it went straight to DVD in 2009.
The launch of the blog series Bechdel Test Canon begins with reflections on 4 Months, 3 Weeks and 2 Days.
Cartoonist and graphic novelist Alison Bechdel created a three-part criteria for movies in her seminal comic strip Dykes to Watch Out For. Adopted as the Bechdel Test, movies that meet its standard must feature 1) two female characters who 2) talk to each other about 3) something other than a man.
Seducing and then dispatching her rapists (I Spit on Your Grave), tempting horny teenage boys before killing them (Jennifer's Body), getting even with all the boys who ruined her life in high school by becoming sexy and then killing them (Tamara), having a real-life vagina dentate to defend against male rapists (Teeth), becoming sexy and sexual right before she starts killing men. (Ginger). What do all these storylines have in common? They've been touted as feminist because they star a woman who fights and kills her oppressors (see Carol J. Clover's interviewees in Men, Women, and Chainsaws). Personally though, women being depicted as so powerless that the only way they can fight against their oppressors is by using sex is not my idea of a feminist film.
For some reason, there is an outdated notion that women don't like horror movies. The truth is, women don't just like horror—they've been making it for decades, and the genre would not be itself today it if it weren't for the perseverance of women in the industry. Here are three women that made it possible...
Not that I would expect post-modern, transnational feminist film work to come out of the slimy "it's not misogyny/racism, it's ironic!" Vice-magazine's video site, VBS.tv, but the thirty-minute documentary "Prostitutes of God," on devadasi sex workers in India, is dangerously western-centric, anti-sex work, and completely misrepresents the sex workers it focuses on.
Only there's a twist to this one-sided voyeurism--the film subjects are taking the filmmakers to task for misrepresenting their lives. Enraged about the compromised representation of their gods, their work, and their lives, the sex workers made a response video.
The conventional wisdom is that women don't want to be scared—or enjoy scary movies only insofar as the terror gives them the opportunity to snuggle up to male companions, as Entertainment Weekly pointed out in a 2009 piece. This strikes me as bizarre. Women bleed, after all, regularly and sometimes very heavily. We push human beings out of our bodies. We deal with constant threats to our safety. So it only makes sense that women can portray fear, terror, and gore onscreen in ways only those who've experiences it up close and personal can.
But I can't blame the general public for the assumption that women just don't make horror films. How would anyone really know, when the films that do exist are routinely ignored and diminished? This disturbing and irresponsible invisibility is why I founded Women in Horror Recognition Month in February 2010—a tradition that will hopefully continue until we are respected, visible, and included as both creators and fans. And right now, I'd like to introduce you to five women among the many who are working hard to be seen and heard in this scarily sexist genre.
The Portland Lesbian & Gay Film Festival is under way! This October the Fest is celebrating its 14th year, opening last Friday night at Cinema 21 with a screening of Howl. Don't be dismayed that you missed it because the Fest is running until October 9 so there are still five days left to catch one (or more!) of the many movies lined up. Find the full list of screenings here.
You feminist horror fans out there probably already know that The Exorcist is being re-released next week on Blu-Ray and DVD, complete with new special features and an extended director's cut. What you might not know, however, is that your friends at Bitch Media (hi, that's us) have five copies of said DVD that we'll be giving away throughout the month of October as a part of our Horror Show series celebrating feminist horror in pop culture! Read on to find out how to win one of these horror-filled DVDs—if you dare!!!