ALLIANCE OF WOMEN FILM JOURNALISTS

Female Film Critics 24/375

TIFF

Reviews 

GOOD MADAM – Review by Alexandra Heller-Nicholas

Alexandra Heller-Nicholas , , , , , ,

A horror film about the way the legacy of apartheid continues to be internalized on a personal and professional level in contemporary South Africa, Good Madamfollows single mother Tsidi who, after the death of her beloved grandmother, is forced to move with her daughter Winnie into the house of a rich white woman Diane where Tsidi grew up, and where her mother Mavis still works as a housekeeper. Good Madam is a masterclass in how horror can speak to race and inequality, set in a world of servitude presented as a terrifying, powerful and unrelentingly enduring mode of postcolonial possession – both literally and metaphorically – whose presence can be felt long after the official era of apartheid has supposedly ended.

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Festivals Reviews 

THE GUILTY (TIFF 2021) – Review by Pam Grady

Pam Grady , , , , , , , ,

Twenty years after his breakthrough film, Training Day, Antoine Fuqua returns to the environs of the Los Angeles Police Department to deliver a very different, more subdued drama. A remake of a 2018 Danish thriller of the same name and shot under COVID protocols, it is a film where interest never flags but one that is hampered by its shaky night-in-the-life-of scenario, delivering a too shallow portrayal of the life of a troubled man.

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Festivals Reviews 

WHERE IS ANNE FRANK (TIFF2021) – Review by Ulkar Alakbarova

Ulkar Alakbarova , , , ,

Anne Frank’s diary has been told, filmed, and has many documentaries about it. It seems there is nothing more left to be said until you watch Ari Folman’s Where is Anne Frank. This time, it takes a novel approach and revolves around Anne’s imaginary friend, Kitty, who finds herself in Frank’s house in Amsterdam. Getting a physical form, she steals Anne’s diary and begins the journey of her dearest friend, as she, with deep sadness, learns about Anne’s tragic fate.

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Festivals Reviews 

SALOUM (TIFF 21) – Review by Maitland McDonagh

Maitland McDonagh , , , , ,

The genre-warping Saloum starts out as an action-heavy thriller and glides seamlessly into a supernatural horror tale with intense psychological underpinnings. Congolese filmmakers Jean Luc Herbulot Herbulot and Pamela Diop draw on both real-life horrors and fairytale darkness, and combined with intense performances across the board the result is genuinely disturbing. Suffice it to say that the film’s most disturbing images have nothing to do with bogeymen.

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Festivals Reviews 

THE ELECTRIC LIFE OF LOUIS WAIN (TIFF2021) – Review by Leslie Combemale

Leslie Combemale , , , , ,

If you have cats in your home as part of your family, you have Louis Wain to thank. He was the 19th century illustrator of cat images and he introduced Victorian London to the wonder and joy of cats. A socially inept, eccentric soul, Wain created paintings and sketches of anthropomorphized felines, though many of his images were of his beloved pet cat Peter. In Will Sharp’s The Electric Life of Louis Wain Benedict Cumberbatch in the title role, along with Andrea Riseborough as one of his five sisters, and Claire Foy as his beloved Emily. The film is charming, sad, has great performances, and is visually sumptuous, with some of the best costuming and makeup you’ll see this year. It has such undeniable heart, you’ll be sure to forgive it being a little overly sentimental.

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Festivals Reviews 

FLEE (TIFF2021) – Review by Leslie Combemale

Leslie Combemale , , , , , , ,

Danish writer/director Jonas Power Rasmussen’s documentary Flee about Afghan refugee Amin, his arduous journey getting to Denmark, and how that experience colors his current life, is destined to become a shining example of great indie animation. It may be painful to watch Amin go through the horrors he describes, but it is also an incredibly uplifting, inspiring story that will leave its viewers with a powerful feeling of hope.

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Festivals Reviews 

THE MAD WOMEN’S BALL (TIFF 2021) – Review by Leslie Combemale

Leslie Combemale , , , , ,

Melanie Laurent creates a compelling world in which discarded women are blithely mistreated. She has also laid out a strong case for why women of the early 20th century, as in the time of The Snake Pit, as well as women today, struggle with being heard and believed by the mental health and medical communities. The Mad Women’s Ball is the kind of layered, femme-centric and very political story we need more of, and by fearless female filmmakers like Melanie Laurent.

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Festivals Reviews 

THE SURVIVOR (TIFF2021) – Review by Leslie Combebale

Leslie Combemale , , , , ,

It’s strange to say that a film based around the Holocaust is hopeful, but it’s true. Barry Levinson’s The Survivor is based on the real life story of Hertzko Haft, a jewish boxer who survived Auschwitz by fighting 76 brutal life or death matches against other Jewish prisoners, only to carry that trauma into his postwar life. As Haft, Ben Foster is the best he’s ever been. The Survivor is hopeful, in part, because Levinson has a way of finding the balance between darkness and light in his movies, and in part because the Jews of the world didn’t come out of the Holocaust without reaching for hope.

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Festivals Reviews 

ALI & AVA (TIFF2021) – Review by Alexandra Heller-Nicholas

Alexandra Heller-Nicholas , , , , , ,

A strong screenplay, strong direction, and – of course – two strong performances from Adeel Akhtar and Claire Rushbrook make Clio Barnard’s Ali & Ava something genuinely precious and electrifying, all while remaining focused on the low-key minutia of the everyday lives of its two central characters. Only going from strength to strength, Ali & Ava is another extraordinary achievement in Barnard’s unrelentingly impressive filmography.

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Festivals Reviews 

YOU ARE NOT MY MOTHER (TIFF 2021) – Review by Alexandra Heller-Nicholas

Alexandra Heller-Nicholas , , , , ,

You Are Not My Mother is dominated by a range of women characters who collectively challenge and reveal the complexities of the “strong female character” cliche. Tensions between binaries such as strength/weakness and good/evil are rendered far more sophisticated and difficult to unknot here in a way that is subtly subversive, disguised as it is as a fun, spooky, popcorn-friendly horror film. What makes You Are Not My Mother such compelling viewing is how it seeks to defamiliarize our moral and ideological expectations surrounding women and the broader concept of strength, challenging us to think in more complex ways about gender and power.

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