Some 2020 Female-Directed Films Besides Wonder Woman 1984
In a previous article of mine on my feelings about DC movies (particularly that The LEGO Batman Movie is DC’s best modern film), I mentioned that I thought Wonder Woman 1984’s seeming vivid aesthetic and upbeat energy made it a promising addition to 21st century DC films, which are, by and large, sleek, gritty, and hollow. However, having watched WW84 over winter break, I can affirm the film to be as much facile, cool factor brain-mush as the films I criticized in that article, if not more so. Narratively, it was a trainwreck, at once having a plot so overly simplistic and hackneyed -- I cannot stress enough the fact that the plot of this movie is a crystal that grants wishes, but there’s a dark side to them -- and simultaneously, a plot so needlessly convoluted and opaque. The movie’s worst offense though, by far, is its highly objectionable portrayal of Middle Eastern conflict and geopolitics, and Arab and Muslim individuals as a whole. I don’t think Wonder Woman -- portrayed by Gal Gadot, who served in and has defended the IDF (Israel Defense Forces), which have committed war crime after war crime upon Palestinians, just this Wednesday taking advantage of the world’s eyes on the Trumpian domestic terrorist attack on the Capitol to move further forward in its attempt at illegally annexing Palestine -- saving a young hijabi girl from nameless Arab gunmen could be more distasteful if it tried.
None of this can be ignored in the name of Gal Gadot’s Wonder Woman being a “girl power” icon, nor because of the cultural importance of female superheroes. Believe you me, I wish Wonder Woman 1984 could be that for us, could reflect what female storytellers can bring to the table in this industry and in this genre, could be a testament to the unlimited potential of feminist filmmaking, but it simply isn’t. Luckily though, despite 2020 being a poor year for cinema given the closing of movie theaters throughout the world, there were a few fantastic female-directed and female-led films released this year. So, if you want to support female filmmakers in an industry as male-dominated as film without supporting WW84, here are some stories I’d recommend. :)
Emma. dir. Autumn de Wilde
Rated: PG
Where to watch: HBO Max
I’ve watched Autumn de Wilde’s adaptation of Jane Austen’s Emma a few times now, and every time, the wave of emotions I go through is strong. From laughing and gasping at petty Victorian drama to crying over, “If I loved you less, I might be able to talk about it more,” Emma. is a profoundly lovely adaptation. Led by The Queen’s Gambit’s Anya Taylor-Joy and sporting gorgeous visuals and a soundtrack reminiscent of butterflies fluttering around in a greenhouse full of roses, Emma. is a masterclass in period romance and comedy. And of course, it helps that though Clueless was adapted from the novel Emma, it truly feels like 2020’s Emma. is as much adapted from Clueless as it is Austen’s original text.
Promising Young Woman dir. Emerald Fennell
Rated: R
Where to watch: in theaters now, on demand soon
Now, I’ve not yet seen Promising Young Woman -- unlike the majority of films that have come out this year, it’s so far premiered only in theaters, and with the record number of COVID cases and deaths sweeping the country right now, I don’t yet feel comfortable going to a cinema. That being said, Promising Young Woman has been, since its development was announced, been one of my personal most anticipated releases of 2020. A revenge dramedy thriller with bold production design, lead by Carey Mulligan and comedian Bo Burnham, and written and directed by Killing Eve’s Emerald Fennell, is something out of my daydreams. It certainly looks, to say the very least, promising (pun entirely intended), and I cannot wait to rent it once it arrives on Amazon, iTunes, and on demand on the 15th of this month.
The Half of It dir. Alice Wu
Rated: PG-13
Where to watch: Netflix
Alice Wu is no stranger to expressing the experience of being a Chinese-American lesbian through the art of film. Her last film prior to The Half of It, 2004’s Saving Face, did exactly that, telling an unabashedly sweet story despite the more serious topics, both societal and cultural, the film tackles. The Half of It is no different, Wu expressing her truth uniquely and creatively through the character of Ellie Chu, but without trying to stand out -- which in effect, makes it more truthful. It’s fun, it’s emotional, it knows that there is no set-in-stone criteria for how and what filmmakers should be expressing creatively, and it is entirely its own.
Buffaloed dir. Tanya Wexler
Rated: NR
Where to watch: Hulu
Yes, this is a film about debt collectors. Yes, it’s one of the wittiest movies released this year. Tanya Wexler’s Buffaloed is an all-around good time, save for a few more serious scenes that are strikingly candid for a film as wild as Buffaloed. Zoey Deutch delivers a fantastic and endlessly fun-to-watch performance as Peg Dahl, a woman who, despite moral bankruptcy, has a knack for salesmanship, and who is set on making enough cash to leave Buffalo, NY behind for good. Truly, the film is worth a watch by virtue of Deutch’s performance alone. The film is unpolished and heartfelt, and it’s nothing if not entertaining.
I May Destroy You dir. Michaela Coel
Rated: TV-MA
Where to watch: HBO Max
Okay, I’ll admit I’m cheating a bit with this one. Michaela Coel’s drama I May Destroy You is not a film, but a miniseries; however, it’s by far one of 2020’s most impactful stories, so I’ll bend my own rules and include it anyway. Sue me. Following the success of her BBC series Chewing Gum, Coel’s next work is a hard-hitting story about the aftermath of sexual assault. It is raw and unfiltered in its portrayal of sexual trauma: the fear, the shame, the anger. The slew of emotional repercussions rape has for survivors is expressed with clarity and candor as Coel puts not just words but scenes to these feelings and experiences with care and subversion of how rape is portrayed in popular media. It’s urgent, it’s revolutionary, and I can’t recommend it enough.
What the Constitution Means to Me dir. Marielle Heller
Rated: NR
Where to watch: Amazon Prime
Again, I’m kind of cutting corners with this entry. What can I say, it was a bad year for film. Playwright Heidi Schreck’s What the Constitution Means to Me is not a cinematic narrative, but a play; a professional recording of her (mostly) one-woman show, which is now available for streaming. In the play, Schreck simulates an experience from her childhood: speaking about the United States Constitution as a child debater. Only as an adult, she does not praise the Constitution; rather, Schreck uses personal anecdotes from her adult life and her family history, and breaks down how the Constitution does not protect all Americans, because it simply wasn’t designed to. The show does not shy away from addressing the issues of domestic abuse, immigration, abortion, sexual abuse with intimacy, honesty, and somber realism. It has its flaws, particularly in that it’s not much of a debate when everyone in the audience agrees with you, but it is an engaging, funny, and thought-provoking piece of storytelling and political commentary.
Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn) dir. Cathy Yan
Rated: R
Where to watch: HBO Max
And finally, we return to the world of superhero films. In that same article I mistakenly showed optimism for Wonder Woman 1984, I also mentioned my love for Birds of Prey -- something I’d love nothing more than to expand upon. Because Birds of Prey is everything a fun antihero action film should be and more, and it’s a breath of fresh, glittery air. Its highly stylized direction and wildly sparkly & colorful aesthetic work alongside perfectly with the story it wants to tell and how to tell it. Its cast of characters are all solid, unique, multi-layered, and entertaining. Birds of Prey has the best, most intriguing take on Gotham City and how it operates since Burton. Birds of Prey is innovative, creative, and spot-on in its use of fight choreography to build character. Birds of Prey has a main cast entirely made of motivated, powerful women who don't have to sacrifice their compassion for strength, but instead whose compassion actively makes them stronger. Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn) is, in my opinion, the best DC live action movie of the 21st century, and I’m not ashamed to admit that I’ve treated myself to a comfort rewatch of it at least once every other month since getting it on DVD.