LE PUPILLE – Review by Nadine Whitney

Directed by Alice Rohrwacher (Happy as Lazzaro) and produced by Alfonso Cuarón, Le Pupille reunites Rohrwacher with writer Carmela Covino and star of Happy as Lazzaro, Alba Rohrwacher. It is WWII and a group of orphans live in a ramshackle convent in Italy. The whole county is suffering a famine because of the war. The Church, usually able to depend on money from the faithful is facing poverty, and the hope of Madre Superiora Fioralba (Alice Rohrwacher) is that the annual Nativity Scene will bring in some much-needed funds

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AWFJ Presents CORPO CELESTE – Review by Erin Trahan

If a cinematic canon were to prioritize an adolescent girl’s point of view, Alice Rohrwacher’s Corpo Celeste from 2011 would top the list. The first of Rohrwacher’s now several features as writer-director of fiction, Corpo Celeste succeeds as a highly original coming-of-age story set among worn out but still potent Catholic traditions.

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MOVIE OF THE WEEK July 22, 2022: SKIES OF LEBANON

Quirky and poignant, creative and heartfelt, Chloe Mazlo’s drama Skies of Lebanon is a singular achievement in inventive filmmaking. As she tells the story of Alice (Alba Rohrwacher) — a young Swiss woman who leaves home in the 1950s and makes her way to Beirut, where she falls in love, marries, and raises a family — Mazlo serves up a unique mix of tone and style that’s likely to both charm and move viewers.

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Opening Jul 18 – 24, 2022 – Margaret Barton-Fumo reports

The Alliance of Women Film Journalists highlights movies made by and about women. With a vigilant eye toward current releases, we maintain an interactive record of films that are pertinent to our interests. Be they female-made or female-centric productions, they are films that represent a wide range of women’s stories and present complex female characters. As such, they are movies that will most likely be reviewed on AWFJ.org and will qualify for consideration for our annual EDA Awards, celebrating exceptional women working in film behind and in front of the camera.

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MURINA – Review by Diane Carson

First time Croatian co-writer/director Antoneta Alamat Kusijanović demonstrates a mature, profound insight into human psychology, male and female, young and middle-aged, in her feature film debut Murina. Set on the Adriatic coast, the family’s Croatian island home isolates seventeen-year-old Julija from the more enticing, liberated lives she observes as party boats visit their blue-water cove and rocky beach.

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MURINA – Review by Jennifer Green

Executive produced by Martin Scorsese and winner of the 2021 Camera d’Or in Cannes for first-time feature director Antoneta Alamat Kusijanović, Murina is a slow-churning, disquieting tale of a young woman’s revelation that her life could have been entirely different than what it is, and her empowerment to change her future.

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THE LOST DAUGHTER – Susan Granger

One great blessing of the current trend toward diversity and inclusion is that Netflix green-lit this scathingly honest psychological exploration of the ambivalence of motherhood, trusting actress Maggie Gyllenhaal to make her auspicious directing debut unraveling its psychological complexity.

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THE LOST DAUGHTER – Review by Diane Carson

Actress Maggie Gyllenhaal has given many fine performances, including Secretary, The Kindergarten Teacher, and the daring television series The Deuce for which she produced twenty-five episodes. Now as director of her first film, The Lost Daughter, Gyllenhaal advances her resume with a courageous, provocative immersion into the psyche of Leda, a middle-aged English professor on a writing holiday in Greece.

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MOVIE OF THE WEEK December 17: THE LOST DAUGHTER

A meditation on the tension between motherhood and personal identity, Maggie Gyllenhaal’s feature directorial debut The Lost Daughter — adapted from Elena Ferrante’s same-named novel — is frank in its admission that, for all of its rewards, parenting can be a pretty rough gig. No one knows that more than Leda (Olivia Colman, in a stellar performance), whose life choices come back to haunt her during what’s intended to be a relaxing Greek vacation.

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THE LOST DAUGHTER – Review by Wendy Ide

On a solo holiday to a Greek Island, literature professor Leda (Olivia Colman) finds herself both fascinated and repelled by the brash extended family that shares her local beach, encroaching on her space and hijacking her attention. When a child from the family goes missing, it is Leda, level-headed in the crisis, who finds her. But this act invites unbidden memories of her own decisions as a mother, choices that she wrestles with even now, nearly 20 years later.

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