Female Film Critics 24/375
A British stage director making her filmmaking debut, Roarke ensures that the production values are high, the twisty plot is clear and Alexandra Byrne’s costume designs are flawless. She brings over the theatrical tradition of casting without regard to color whenever possible, which allows talents like Lester and Gemma Chan (as one of Elizabeth’s confidantes) to get in on the costume drama.
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If there’s one thing Mary Queen of Scots proves without a doubt, it’s that we’d be so much better off with more women in positions of power.
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You don’t need a degree in British history to appreciate that what looks like pretty thrilling movie-movie internecine spycraft and occasionally outright warfare between the two thrones — Mary’s in Scotland and Elizabeth’s in England — is, in fact, the undermining of two reasonable women trying to unite their nations, their efforts thwarted by very angry, very misogynist men.
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Mary Queen of Scots makes palace conflict and betrayal captivating. Mary Queen of Scots unfolds like an engrossing chess match between the determined, Catholic Mary Stuart of Scotland and her indomitable cousin, Protestant Elizabeth I of England. Wise and wily, both queens know the personal and political hazards and sacrifices that come with being women sovereigns in a world of palace intrigue and, occasionally, murder.
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2018 AFI Film Fest puts strong women in focus. Held in Hollywood from November 8-15 in Hollywood,the American Film Institute’s prestigious fall film celebration is set to open with Mimi Leder’s Ruth Bader Ginsburg biopic, OnThe Basis of Sex and to close with Josie Rourke’s Mary Queen of Scots.
Read moreAnnie Clark, aka St. Vincent, is set to direct a new version of Oscar Wilde’s Picture of Dorian Gray, starring
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