Female Film Critics 24/375
A powerful visual experience with a thorough social critique, Neptune Frost is as original and imaginative as it is thought provoking. Described as a “visionary Afrofuturist punk musical.” It’s also a psychedelic protest against exploitation driven by the pervasive global greed. Numerous times I wanted to stop the fabulous singing and dancing to contemplate informed, complex defiance.
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It’s sadly unsurprising that the Saul Williams and Anisia Uzeyman co-directed Neptune Frost finds Uzeyman’s name oft deleted in casting sole authorship of the film to the acclaimed, multi-talented Williams. But considering the aesthetic, philosophical and ideological aggression which propels the sci fi musical from its opening moments, there’s something of a depressing irony surrounding Uzeyman’s common erasure as a key co-author of the film, often (at best) reduced to a footnote, if she’s mentioned at all.
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Looking back on this year’s New York Film Festival, a number of women-directed features stand out among the best of the fest. Jane Campion, Julia Ducournau and Joanna Hogg were just a few of the Main Slate directors who garnered much (warranted) attention with critically acclaimed films that lived up to their high expectations. Other films by new directors, though not as anticipated, exhibited great promise.
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It’s sadly unsurprising that the Saul Williams and Anisia Uzeyman co-directed Neptune Frost finds Uzeyman’s name oft deleted in casting sole authorship of the film to the acclaimed, multi-talented Williams. But considering the aesthetic, philosophical and ideological aggression which propels rthe sci fi musical from its opening moments, there’s something of a depressing irony surrounding Uzeyman’s common erasure as a key co-author of the film, often (at best) reduced to a footnote, if she’s mentioned at all.
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