Female Film Critics 24/375
For roughly the past decade, Italian high-fashion brand Miu Miu, a subsidiary of Prada, has been commissioning and releasing short films from some of the world’s most renowned women directors. As long as the films include Miu Miu fashions and accessories, the directors have been free to express their own creative impulses and personalities. Within the series, film fans will recognize signature flourishes along with great invention.
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There’s no way to know how much, if any, Funko’s introduction of Female Film Director Pops was influenced by Leslie Combemale’s essay for AWFJ.org in 2018, but in March, 2020, Funko introduced it’s Ava DuVernay Pop. The Patty Jenkins Pop followed in April.
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Programming for this year’s 57th New York Film Festival, held from September 15 to October 23, suggests that this highly regarded cinema showcase has little regard for the 5050×2020 gender parity initiative. Of the 66 feature films presented in this year’s 26-day schedule, just 11 were directed by women. That’s a mere 16.666666666667%, and a very long short fall from the 50/50 by 2020 goal. That said, the female-directed films that were showcased in this year’s NYFF program are absolutely brilliant. Here’s a run down.
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If you don’t know French artist Prune Nourry — and I didn’t before watching her documentary If you don’t know French artist Prune Nourry — and I didn’t before watching her documentary Serendipity — this personal and profound film is a great introduction to a singular creative force and fascinating person.
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French-born artist Prune Nourry’s autobiographical documentary, Serendipity, is a stunning first feature that explores in her own words her impassioned yet contemplative response to a potentially devastating breast cancer diagnosis she received in 2016 at age 31.
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Filmmaking legend Agnès Varda‘s final film, “Varda by Agnès,” will open Nov. 22 in select cinemas in New York City, followed by a nationwide rollout.
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Varda By Agnès is a sprawling, wandering film that reveals how the seemingly different strands of our lives can diverge, intersect, vanish and return. At the heart of this is simply the experience of having lived a full life, where Varda was influenced by the people she met and worked with as much as she influenced them. “Real people are the heart of my work”, she says simply at one point, noting elsewhere “nothing is trite if you film people with empathy and love”.
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Marking the legacy of influential French filmmaker Agnès Varda whose recent passing triggered a torrent of both deep grief and loving memorials from cinephiles across the globe, the upcoming Sydney Film Festival celebrates her unparalleled career with a near-exhaustive program of her most significant films.
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RIP Agnes Varda. You have left the mortal realm of moviemakers, but your films, curiosity, love of life and feminism are still guiding lights for audiences who believe that movies matter. The Alliance of Women Film Critics honors your memory with this collective tribute of articles and reviews by members of the Alliance of Women Film Journalists.
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The Palmarès (awards) for the 41st Créteil International Women’s Film Festival in Paris were introduced by a short film made in 1967 in San Francisco by Agnès Varda who looked up a Greek uncle in Sausalito – “Uncle Yanco”. Agnès Varda died earlier in the morning on March 29 surrounded by family.
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