Women’s stories this week

The first annual Adrienne Shelly Foundation Woman of Vision Salute was held at the Museum of Modern Art (MoMA) in New York City on November 2 to honor the achievements of filmmaker Nicole Holofcener.  The event included a talk with Holofcener hosted by Catherine Keener. On November 1, the Foundation launched an ebay auction with a host of big names in entertainment (Rosario Dawson, Jon Hamm and others) to help raise money for the work of the Foundation.  The Adrienne Shelly Foundation supports many organizations in their funding of women filmmakers and women in film.  An excerpt from the ASF’s mission statement reads:  “The Adrienne Shelly Foundation supports the artistic achievements of female actors, writers and directors through a series of scholarships and grants…”

The ASF was set up in 2006 by Andy Ostroy in remembrance of his late wife’s work as an actress and filmmaker as a way to support the work of women filmmakers.  Adrienne Shelly was murdered in 2006 while she was writing in her downtown New York office.  Her death affected me greatly, having been a long-time admirer of hers and inspired in many, many ways by the first film I saw her in, Hal Hartley’s 1990 film Trust.  November 1 marks the date of her death.  Adrienne Shelly was 40 years old.

After years of working as an actress, she went on to write and direct, most famously the huge success Waitress, starring Keri Russell, Cheryl Hines, Andy Griffith, Jeremy Sisto and Nathan Fillion. (Cheryl Hines later directed Serious Moonlight written by Adrienne Shelly.)  Andy Ostroy wrote an article in the Huffington Post earlier this week in honor of the five year anniversary of Adrienne Shelly’s death.  Also, take a look at a video below of Shelly talking about her inspiration for the film Waitress.


“The War We Are Living,” the fourth film in the five-part PBS documentary series Women, War and Peace aired on Tuesday.  This film focused on Afro-Colombian women in a resource-rich area of Colombia whose land was under threat from internal and foreign corporations and miners.  Colombia’s history of paramilitary groups fighting with guerrilla groups devastated the country and residual effects are still being felt.  Many people within the community of Toma were threatened by terrorist groups in order to force them to leave so the land could be taken over.  These groups also killed many community members in an attempt to scare them away from their communities.

Two women, Clemencia Carabali and Francia Marquez, were strong and vociferous leaders in the community who opposed the terrorism.  They helped to organize their fellow community members to oppose the government’s deferral of responsibility when it came to revoking mining rights given to Hector Sarria under the false pretenses of there not being any Afro-Colombian community in the area (Toma) with whom he should confer to receive the community’s approval.  By saying on paper that there was no Black community in Toma, the government helped to make these Afro-Colombian communities invisible and allowed people with no authority to mine in the area.  Under Colombian law, Afro-Colombians have legal protections.  But the community stood up and said “No,” and the government was forced to back down.

If you missed this episode, you can watch it online at PBS.  The fifth and final film (“War Redefined”)  in the Women, War and Peace series will air on Tuesday, November 8.  You can tweet along during the show by labeling your tweets with #wwplive and follow the series on twitter @WomenWarPeace and Abigail Disney, Executive Producer of the series @AbigailDisney.


Wellywood Woman: For women who make movies.                                                      And for the people who love them.

Marian Evans, author of the blog, Wellywood Woman, penned a gorgeous piece last week about the Mumbai International Film Festival and the seeming increase in support for women filmmakers.  She explores this topic with a journalist as well as explores the films and lives of various women filmmakers to try to find some answers as to why.  In 2010, the Mumbai International Film Festival (MAMI for short) had an all-female jury headed by renowned filmmaker, Jane Campion, and the 2011 festival had a large number of films made by women.

Read Marian’s article, “Going Global via MAMI” and follow her on twitter @devt and on Facebook at Development the Movie.


It was announced recently that there will not be a Birds Eye View Film Festival in 2012.  Last year, the UK Film Council closed and as a result, BEV is unable to continue with its plans for a 2012 festival.  From the BEV website: “Over the past few years, the UK Film Council supported the Birds Eye View Film Festival through their Film Festivals Fund and Diversity Grant in Aid. Since the closure of the Film Council, funds have transferred to the BFI. As yet, there is no provision for either Festivals or Diversity, leaving BEV with a 90% drop in public funds.”

This is a huge loss, but I have no doubt that BEV will be back in 2013.  There is a great informative FAQ-type page on the BEV website you can read here which talks about their plans and how the public can help.  This story isn’t getting nearly enough attention, if you ask me, especially because this is just one of the effects of the closure of the UK Film Council which was predicted.  The closure was a move opposed by many in the industry, including Mike Leigh, one of England’s leading filmmakers (and admired around the world) whose films have depended on the Council.  You can read some mentions in the press below and follow BEV on twitter @BirdsEyeViewFF.

“We can’t run our film festival next year — but we’ll be back” (2 Nov 2011, The Guardian)

“Birds Eye View Festival 2012 cancelled due to funding cuts” (27 Oct 2011, Screen Daily)

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Women’s stories this week

“Peace Unveiled,” the third in the five-part Women, War and Peace series aired Tuesday on PBS in the U.S.  This film focused on the work of three particular Afghan women to reestablish their rights and participate in the peace process to have a voice and a place at the table.  The details about the realities of life as a woman in Afghanistan were sobering indeed, many absolutely shocking, and there was a lot that I think most women (at least in the U.S.) would have no idea had happened or was still happening:  women risking their lives to run for political office, death threats against women teachers, routine death threats against women’s children — women who refused to become slaves of the Taliban (“cut off your children’s heads and burn your daughter” types of threats).

The role of the U.S. government in the peace talks was fascinating to hear about, especially as the reality is not something that mainstream media in the U.S. shares with the populace.  The media is called the Fourth Estate for a reason, and is supposed to support democracy and the free flow of information, not suppress it.  Watch Democracy Now! on LinkTV hosted by Amy Goodman if you want to hear more accurate information and hear and see women who are involved in peace movements and political and direct action. Abigail Disney, the Executive Producer of the Women, War and Peace series, was interviewed by Amy Goodman on Tuesday.  Watch the interview here (9m 50s).

Many quotes from the film were shared through the #wwplive tag as we live tweeted during the broadcast.  Prolific tweets abounded, with some of the most active people being Women, War and Peace @womenwarpeace (with the director of the episode, Gini Reticker, leaving her comments labeled with “- GR, ” so we could tell it was her), The White House Project @TWHP, The Opinioness @OpinionessWorld, Katherine Mullen @MullenKat, Gayle Tzemach Lemmon @gaylelemmon, Peace Is Loud @peaceisloud (I LOVE this handle!), all of whom are very much worth following if you don’t already.

Next week will be “The War We Are Living,” the fourth film in the series.  If you are in the U.S., please check here for local listings to see what time the film airs your PBS affiliate.  Come live tweet with us, too, if you can!  Just tag your posts with #wwplive.

If you have missed the other episodes, you can watch the first two online, and each episode is made available for viewing online several days after the original air date.


The 24th Tokyo International Women’s Film Festival ran from October 23-26.  The official selections and directors are:

Angeles Gonzales-Sinde (One Word from You), Leena Manimekalai (Sengadal, The Dead Sea), Yim Soon-rye (Rolling Home with a Bull), Akane Yamada (All to the Sea), Michal Aviad (Invisible), Celine Sciamma (Tomboy), Yen Lan-Chuan (Hand In Hand), Yui Miyatake (Jazz Jii Men), Juana Macias (Plans for Tomorrow), Sumiko Haneda (Nuclear Power Generation Now and The Life of Hiratsuka Raicho)*, Kyoko Gasha (3.11 We Live Here), Carin Black (100!) 

*The film’s subject, Raicho Hiratsuka, was a pioneer Japanese feminist and the film’s director, Sumiko Haneda, is one of Japan’s leading women documentary filmmakers.


Women In Film and Television has launched a chapter in the United Arab Emirates (WIFT UAE), to focus on women in the Middle East and North Africa.  This is very exciting news and I will be following WIFT UAE’s developments!  They’ve partnered with Final Draft for a short script competition.  Read the article here: “Women in Film and Television, UAE joins global film community.”  The organization states, “We endeavor to become a vibrant, productive force in the UAE and to support, educate, mentor and inspire our members.”  Visit the website to read about the mission and much more.  (They launched in August of this year, but I just found out about it this week and couldn’t be happier to know it’s happened.  Where were you in August, google alerts?!)


The 2011 Film Independent Producers Lab Fellows were announced early Monday on indieWIRE and good news: five of the eleven fellows are women.  This is darn near gender parity we’re witnessing, people!  With nine projects in total, two of them had two-person producing teams and four of them had women as sole producers.  The list of women recipients and their projects are:

  • A Day with Dandekar (Megha Kadakia)
  • Lee (Angela C. Lee)
  • Pit (Rikki Jarrett)
  • Raw (Stacy Haskin w/Gil Kofman)
  • Three (Anna Kerrigan)

The Association of Black Women Historians has issued a critique of The Help, giving us an alternative and more historically correct view and understanding of the context of the story.  The newly released The Help is based on Kathryn Stockett’s book of the same name.  The ABWH states that: “Despite efforts to market the book and the film as a progressive story of triumph over racial injustice, The Help distorts, ignores, and trivializes the experiences of black domestic workers. We are specifically concerned about the representations of black life and the lack of attention given to sexual harassment and civil rights activism.”  The statement goes on to say: “Portraying the most dangerous racists in 1960s Mississippi as a group of attractive, well dressed, society women, while ignoring the reign of terror perpetuated by the Ku Klux Klan and the White Citizens Council, limits racial injustice to individual acts of meanness,” and ends with “The Association of Black Women Historians finds it unacceptable for either this book or this film to strip black women’s lives of historical accuracy for the sake of entertainment.” (Source: An Open Statement to Fans of The Help. ABWH.)

Read the ABWH’s Open Statement and the story in the Kansas City Star.

I say hear, hear.  While I wanted to see the film based on hearing about the book, I’m bothered by this concern over the historical inaccuracies and distortions present in both the book and film according to this statement.  We all know that Hollywood misrepresents history and the lives of racial and ethnic minority groups and women, and often disinforms us (not just misinforms us — see Black Hawk Down as an egregious example of this.)  Have any of you seen the film or read the book — or better, both?

I really appreciate the criticisms of the ABWH.  To add to the critique, I find the poster in itself embraces regressive thinking, i.e. the “Black women as conspirators and gossips”  stereotype, the young “White girl as the go-between” stereotype, and more, but I think I’ll leave that for another day.  I can’t be the only person who thinks this is a terrible poster (from a socially conscious point of view.)


Last week, Monika Bartyzel of Girls On Film wrote a too-true piece attacking the use of the insidiously disempowering “for women” phrase in movie marketing.  She states, “It’s not about catering to women. It’s about setting up a stereotypical dichotomy between the sexes and catering to the most reductive common denominators.”  Read Bartyzel’s article “The ‘For Women’ Fallacy.”

This started me wondering if there is a positive way to spin the “for women” phrase.  Can it be positive instead of negative, meaning that the issues dealt with, or themes presented, in a film relate to women and help to cast women in a non-objectified light?  Can “for women” only be understood as a reductive, essentialist phrase? What do you think?  I’d love to hear people’s thoughts on this, especially as if something’s “for women,” shouldn’t that mean it’s for everyone?  Doesn’t everyone need to see positive images of women and hear positive dialogue about and between women as well as between men and women?  Do you find yourself affected by “for women” marketing?  Do you use it or reject it when it comes to your own projects?  Check out the Bechdel Test if you haven’t yet heard of it.


Veteran director Brian DePalma is quoted in a story in the McClatchy News that about how he “has also been blasted for constantly placing women in danger. ‘I’ve been asked that question for many years and my stock answer is that when you make a thriller I think it’s more interesting to me to photograph women rather than men. But nobody ever accepted that. That’s one of those things like smoking — it went out (of fashion). You can’t do that anymore. Forget about it. Basically you cannot put women in jeopardy anymore. But I think it’s more interesting to put a woman in jeopardy or certainly a child.”

Uh, what?  I’m a bit disturbed by this because it seems as if  he feels it’s inherently more interesting to put a woman or child in danger.  I think that DePalma’s position is completely transparent, and that the vulnerability — or perceived vulnerability — of a woman or child character in a film somehow adds to the entertainment factor.  Is that what we want from movies, though, if we’re being honest with ourselves as (hopefully) discerning viewers?  Do we really want to see some of the most vulnerable members of our society being portrayed as potential victims, targets of danger or even “collateral damage” of violence?  I can’t imagine another argument wherein the vulnerability of a woman or child isn’t the main reason why DePalma — or anyone else — feels that the thrill is heightened.  Is there one?  What do you think?  Read the story “Best horror stories tap into universal dreams and fears, filmmakers say” in the Calgary Herald yesterday.


Christy Jones of the AAUW Dialog Blog cross-posted a great piece by Melissa Wardy of Pigtail Pals (“dedicated to changing the way we think about girls”) about the repugnant treatment of women by ChapStick which has chosen wrongly to use the backside of a woman to advertise lip balm.  What?  That’s right.  Read Wardy’s open letter to the company, “Dear ChapStick, We’re Through.”  This isn’t exclusive to ChapStick, as we all know, and is an issue that is discussed in Miss Representation, a documentary by Jennifer Siebel Newsom which premiered on OWN last week. Read my post on the film and the Miss Representation pledge.

Women’s stories this week

Magnolia Pictures picked up writer-director Sarah Polley’s latest film, Take This  Waltz, for U.S. distribution beginning summer 2012.  Polley’s film premiered at the Toronto International Film Festival in September.  Read Katherine Monk’s article here, an interview with Polley in the Toronto Star, and a video of her at The Globe and Mail talking about the film.  Visit the film’s website for more information.

Finnish director Zaida Bergroth wins the Gold Hugo in the New Directors competition at the Chicago International Film Festival for her feature film The Good Son.  The fest states that Bergroth’s film provides “real psychological insight.” Read my review of it here (third film listed) that I wrote after seeing a screening at the 2011 Toronto International Film Festival.  Visit the film’s website here and click on “English” at the bottom to get a translation.

Mohamed Diab’s film Cairo 678 about the sexual harassment of women in Egypt received the Silver Hugo in the festival’s International Feature Film competition.  I wrote about this movie in conjunction with the 20th anniversary of Anita Hill’s testimony on Monday of this week.  Read the piece here and watch a trailer for the film.  Visit the film’s website here.

Jennifer Siebel Newsom’s documentary Miss Representation on media misrepresentation of women and the dearth of women in positions of influence and power screens tonight on OWN at 9:00 PM (EST).  It premiered at the Sundance Film Festival.

The second film in the Women, War & Peace series on PBS, “Pray the Devil Back to Hell” aired on Tuesday night.  This film shows the power of Liberian women to band together to demand an end to war and the creation of peace.  The Nobel Peace Prize Laureate, Leymah Gbowee, was prominently featured through both interviews and video footage shot during the war in Liberia.

Watch “Pray the Devil Back to Hell” online at PBS.

The next film in the series will be “Peace Unveiled” about women in Afghanistan (airing Tuesday, October 25 on PBS affiliate stations in the U.S.)  Check your local listings.

Women’s stories this week

LIfetime’s FIVE

Carol Morley’s DREAMS OF A LIFE

PBS series WOMEN, WAR AND PEACE

 

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Directed by

  • Demi Moore (“Charlotte”)
  • Penelope Spheeris (“Cheyanne”)
  • Jennifer Aniston (“Mia”)
  • Alicia Keys (“Lili”)
  • Patty Jenkins (“Pearl”)

This film (a series of five shorts) aired on Lifetime on Monday, October 10, a work co-sponsored by Walgreens (Way to Well) and Ford (Warriors in Pink).  Echo, the production company Jennifer Aniston runs with her producing partner, Kristine Hahn, also had a hand in the production.  FIVE is a series of films meant to call attention to the crisis of breast cancer, encourage women to take care of themselves and remain vigilant, and to raise money for breast cancer research and a cure.

It’s a very inspiring series of films, beginning with Demi Moore’s “Charlotte,” told from the perspective of a small girl (“Pearl,” who is the one person connecting all five stories) who wants nothing more than to see her mother who is kept behind a closed door — she is dying of breast cancer.  No one will tell Pearl what’s wrong.  The backdrop of this is the lunar landing in 1969 which everyone in the house (lots of relatives) seems intent on watching.  Pearl isn’t interested, however, and insists on seeing her mother.  Eventually, she is allowed to, more out of pity felt by the adults than anything else, and she shares her drawing with her mother, “Charlotte” (played by Ginnifer Goodwin).  Her mother gives her a necklace which Pearl eventually gives to her own daughter.  Moore does a great job at evoking the frustration and desperation of a child who doesn’t know what is happening to her mother, and the adults are often shot from the shoulders down, much as a child would see them.

Continuing with the story is Penelope Spheeris, who directs “Cheyanne,” about an exotic dancer who learns from her doctor (Pearl, now an adult, played by Jeanne Tripplehorn), that she has breast cancer.  This is after her husband feels a lump, and her world is turned upside down with the realization that she will lose both breasts.  Will their relationship survive?  How can he help her?  Out of all five of the films, it’s the one which spends the most time focused on the reaction of a partner of a person with breast cancer.  His world is turned upside down, too, but he’s finally able to come to terms with it. Despite their problems, they start to work them out, and decide to start a family.  A touching moment ends this film, when he unzips her shirt and strokes and kisses her scars.  Cheyanne is obviously self-conscious, even scared.  Spheeris does a great job here of treating these characters (and this issue) with respect and tenderness.

Patricia Clarkson rocks her role as “Mia Newell” in Jennifer Aniston’s film.  Diagnosed by Pearl, who has by now diagnosed many a woman with breast cancer, it’s made up of flashbacks, beginning with Mia getting married (her husband played by Tony Shalhoub).  We move through Mia’s mock funeral, a bittersweet and hilarious yet sad, scene, to her (now ex-) husband leaving her while she’s in the midst of treatment and convinced she will die, to meeting her current husband (Shalhoub), to her diagnosis from Pearl.  Clarkson is one of my favorite actresses, and she tackled her character with such dignity and respect, it was quite impressive to watch.  This film also stars Kathy Najimy as Mia’s best friend.

Alicia Keys directs “Lili,” the story of a young woman played by Rosario Dawson, who finds out she has a lump that needs to be removed.  A dedicated and super-busy professional with an assistant, she has to navigate the very choppy waters of her relationship with her narcissistic mother played by the brilliant Jenifer Lewis, with support from her sister, played by Tracee Ellis Ross.  Dawson plays this character with a quiet steeliness:  she is a no-nonsense professional woman, but in the end, finds that she does, in fact, need the support of her mother and sister.  They refuse to leave the waiting area while Lili is in out-patient care, but she returns, not being able to face the doctors preparing for the lumpectomy.  Keys does a great job with a scene shot in the hospital bathroom, a highly emotional scene where Dawson and Ross confront each other on how they grew up and how difficult a life Lili had without any support from her much older sister.  Jeffery Tambor also plays a small role, a man who has also been diagnosed with breast cancer.

Finishing off the series is the Patty Jenkins-directed “Pearl,” all about the woman who ties all of these women together (played by Jeanne Tripplehorn).  She not only saw her mother die of breast cancer, now that she’s a mother and an oncologist, she also finds herself diagnosed with breast cancer.  The film begins with her narrating a scene showing dozens of women going about their daily lives — she gives us an omnisicient glimpse of their lives, some as breast cancer survivors, others training for a race to raise money for the cure, another not yet knowing she has breast cancer….  While she receives a great deal of support from her husband (played by the great Alan Ruck), she finds that her father, now in his 70’s, still resistant to talking about his wife (“Charlotte” from Moore’s film of the same name), but Pearl insists and he wonders why.  She tells him her diagnosis but yet he still refuses to talk about it and she leaves in anger.  Even telling her young daughter is too much for her, a huge thing to have to talk about with a child, and she finds a way to do it with her husband’s help.  In the end, it is Pearl who “kisses the wall” (survivors kiss a wall of glass tiles in the hospital, leaving a message and an impression), with all the characters from the other films which she had diagnosed with breast cancer, surrounding her with their loved ones.  Finally, her father shows up and gives her a present that reminds her of her mother, and the reconciliation process begins.

Such a misunderstood disease even as recently as the late 1960’s, we’ve come a long way (not just in the film) to acknowledging the importance of finding a cure for breast cancer and talking about this issue openly.


DREAMS OF A LIFE

Still from the film Dreams of a Life. This is a scene from the apartment of Joyce Carol Vincent, dead three years before being found in her apartment

 

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Directed by Carol Morley

While combing through the twitter feeds on Tuesday of all the people I follow, I came across a story posted by Hawai’i Women In Filmmaking.  The link read simply: How could this young woman lie dead and undiscovered for almost three years?  I had to click on it.  Just the question, let alone the incredible story I read, gave me pause.  If this is true, I thought (about the article title), how did it happen?  How do we live so quietly within our own little worlds that we don’t notice that someone who lives, literally, on the other side of the wall, has died and been decomposing for three years?  How do we not notice this?  How have we built so many walls (literal and metaphorical) around ourselves that someone living 10 feet away through the wall or through the front door dies and we have no idea?  This way of life amazes me, and so many of us are guilty of it.  Her story haunts me, and I keep wondering, specifically, how did THIS woman, Joyce Carol Vincent, end up in that London bedsit, dead, with no one from her family and none of her neighbors knowing — for three years?  I want to see this film.

Joyce Carol Vincent, subject of the documentary Dreams of a Life

The story of the making of the film and the reconstruction/ excavation of Joyce Carol Vincent’s life is told with such eloquence and passion by the filmmaker, Carol Morley, in this article published October 8 in The Guardian. She has made the film, Dreams of a Life, which will be screening on October 16 and 18 at the British Film Institute’s London Film Festival.  Carol tweets @_CarolMorley and @dreamsofalifeuk.  The Facebook page can be found at: http://www.facebook.com/DreamsofaLife.  The film will be released in cinemas in the United Kingdom in early 2012 and is distributed in the UK by Dogwoof.

 


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  • “I Came to Testify” (produced & written by Pamela Hogan)
  • “Pray the Devil Back to Hell” (produced by Abigail Disney, directed by Gini Reticker)
  • “Peace Unveiled” (produced by Claudia M. Rizzi, written by Abigail Disney, directed by Gini Reticker)
  • “The War We Are Living” (produced by Oriana Zill de Granados, written by Pamela Hogan and Oriana Zill de Granados)
  • “War Redefined” (produced & written by Peter Bull)

This is a major undertaking, a five-part series airing weekly on PBS, with the first film having aired on Tuesday night.  The next four Tuesdays at 9PM eastern will be the schedule, so tune in if you can.  The first film is a subject which I know enough about to know I need to know MORE about.  The horrifying stories shared by Bosnian Muslim women who were systematically raped and enslaved by Serbian soldiers (during the war/genocide in the early-mid-90’s) were the glue which held together the case against three Serbian military commanders held at The Hague.  This case was the first to establish rape as a “crime against humanity” and as a “war crime.”  One of the attorneys who defended the Bosnian women shared the story of how the Nuremberg trials virtually eliminated the participation of women and ignored the crime of rape, lumping it in with general “war crimes.”  Astonishing that it took 50 years to have rape classified as it now is under international law.  By the way, three women led the charge to bring this case to The Hague and defend the dozens of Bosnian Muslim women who were treated with such incredible inhumanity.

While it exposed the atrocities in great detail, this film also showed how empowering the event was, allowing these tortured women to assert themselves and proclaim their dignity.  After all, stated one of the defense attorneys for the women, they did not know if these men would be convicted, but they all (16 of them in total) determined to share their stories, tell the truth and try to make a difference.

Information on Women, War and Peace can be found on the PBS website.  The first episode, “I Came to Testify,” can be viewed online through PBS.