Women Direct Films 2022

Director Jane Campion and cinematographer Ari Wegner on the set of
The Power of the Dog (Source: Netflix)

Last year on this day, March 8, I listed films directed by women in recent years. A month later, Chloe Zhao became the second woman in the 93 year history of the Oscars to win Best Director with Nomadland. And this year, in the upcoming 94th Academy Awards on March 27, two of the ten Best Picture nominees are directed by women, Jane Campion’s The Power of the Dog and Sian Heder’s CODA.

This may look bright and hopefully the trend will hold. After all, women first directed films in 1896! I wrote about that in my March 8 post last year. However, the latest data aren’t that promising. According to the Celluloid Ceiling Report (Figure 2) published in January 2022, the percentage of women directors working on the top 100 films decreased from a record high of 16% in 2020 to 12% in 2021.

For this March 8, 2022, here’s a new list of some upcoming movies directed by women. There are, needless to say, many more women working behind the scenes as film editors, script writers, cinematographers, production designers, sound professionals, costume and makeup artists, composers, casting directors, producers… all striving to break through the celluloid ceiling.

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Aline directed by Valérie Lemercier, a fictionalized biopic of Céline Dion.

Where the Crawdads Sing directed by Olivia Newman, adaptation of the popular novel by Delia Owens.

Hallelujah: Leonard Cohen, A Dream, A Song a documentary co-directed by Dayna Goldfine

She Said ­­directed by Maria Schrader, based on the book that chronicles the fall of Harvey Weinstein and the rise of a movement. Carey Mulligan and Zoe Kazan star.

Barbie directed by Greta Gerwig, the cast that brings a doll to life includes Margot Robbie, Ryan Gosling, America Ferrera, Simu Liu.

Turning Red directed by Domee Shi, whose animated short Bao won her an Oscar in 2019. Sandra Oh, Billie Eilish and Finneas O’Connell lend their voice and talents.

Don’t Worry Darling directed by Olivia Wilde, who has been called ‘a modern-day renaissance woman’. Attractive cast includes Florence Pugh, Harry Styles, Chris Pine, Gemma Chan.

I Wanna Dance With Somebody directed by Kasi Lemmons, acclaimed director of Harriet (2019) turns her attention to depict the life of Whitney Houston.

The Stars at Noon directed by Claire Denis, who just won the Silver Berlin Bear for Best Director at Berlinale 2022. Adaptation of the 1986 novel by Denis Johnson.

Catherine, Called Birdy directed by Lena Dunham, based on the children’s novel by Karen Cushman, on the adventures of a 14 year-old girl in medieval England.

The Mother directed by Niki Caro, who has helmed an interesting variety of works like Mulan (2020), The Zookeeper’s Wife (2017), Whale Rider (2002). An action thriller, The Mother stars Jennifer Lopez and Joseph Fiennes.

Lady Chatterley’s Lover directed by Laure de Clermont-Tonnerre, adaptation of D. H. Lawrence’s classic novel.

Persuasion directed by Carrie Cracknell. Another Jane Austen classic to be transposed onto screen coming out this year.

Rosaline directed by Karen Maine. A comedic take on Romeo and Juliet from the POV of Rosaline Capulet, Juliet’s cousin and Romeo’s first love.

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Top Ripples 2021

December 2021 was a hectic month, thus the delay of this year-end wrap up. 2021 was another unusual year. No in-person at a theatre to watch movies, but there were several excellent titles. Glad I could watch them online. As for books, I surprised myself as I counted over 50 books from my list on Goodreads, albeit I admit, many of them are audiobooks.

Here are the Top Ripples of my 2021. Links are to my reviews.

MOVIES

Carey Mulligan and Ralph Fiennes in The Dig, based on an historic event in Suffolk, England, 1939.

The Dig – I’d left this one out on my last list by (a huge) mistake, now corrected. This is one of the best movies I’ve watched during the pandemic. Carey Mulligan and Ralph Fiennes in their unusual roles based on a true, historic event. Beautifully shot.

Passing – Both book and movie adaptation are very well done.

Nomadland – Oscar 2021 Best Picture, Director and Actress. Both book and film are inspiring.

Minari – Autobiographical pic of Korean American director Lee Isaac Chung. Yuh-Jung Youn won the Oscar Best Actress in a Supporting Role for playing the eccentric grandma.

The Father – Anthony Hopkins nails it as the father afflicted with dementia and deservedly won his second Oscar at 84, the oldest Acting Oscar winner.

Promising Young Woman – Excellent Oscar winning screenplay by debut director Emerald Fennell. But it’s Carey Mulligan’s performance that speaks most poignantly for promising young women.

Drive My Car – Japanese director Ryûsuke Hamaguchi has created a play within a play while adapting a short story by Haruki Murakami. How ingenious is that? Japan’s official entry to the coming 94th Academy Awards. (Link to my review on Asian American Press)

BOOKS

Joan Didion, Dec. 5, 1934 – Dec. 23, 2021.

The Brothers Karamazov by Fyodor Dostoevsky

Let Me Tell You What I Mean by Joan Didion

The Education of an Idealist: a Memoir by Samantha Power

Station Eleven by Emily St. John Mandel

Passing by Nella Larsen

Brat: an 80’s Story by Andrew McCarthy

The Lost Daughter by Elena Ferrante

Kant’s Little Prussian Head and Other Reasons Why I Write by Claire Messud

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‘Breakfast at Tiffany’s’: from Novella to Screen

Truman Capote’s novella was published in 1958. The setting is 1940’s New York City. Social currents have flowed by, and reading the book now in 2021 makes it interesting to compare back to the era when Capote wrote. Some might feel the currents fast changing, some would lament at the slow pace when women and people from a different cultural background still strive for equal standing in our society today.

WWII is the background and Capote’s handling of a Japanese character is relatively gracious, for he never uses negative descriptions about his appearance; Mr. Yunioshi only shouts when irritated.

While the novella reflects the social culture and values of the time, what’s seemingly timeless is the iconic character, Holly Golightly, a café society gal of just around nineteen who has left indelible marks in the hearts of many men. Holly is a tough gal in a man’s world, and shows she has the iron will of doing things on her own terms; although sadly, she depends on men for her livelihood.

The unnamed narrator of the novella probably knows Holly best among all her numerous society acquaintances. He is a writer and her upstairs neighbour in the NYC East Seventies brownstone. The gal is a walking contradiction. He’s intrigued at first, in love––albeit unrequitedly––towards the end. Here’s how Capote describes his enigmatic yet mesmerizing protagonist Holly Golightly:

She was a triumph over ugliness, so often more beguiling than real beauty, if only because it contains paradox… the trick had been worked by exaggerating defects; she’d made them ornamental by admitting them boldly. Heels that emphasized her height, so steep her ankles trembled; a flat tight bodice that indicated she could go to a beach in bathing trunks; hair that was pulled straight back, accentuating the spareness, the starvation of her fashion-model face. Even the stutter, certainly genuine but still a bit laid on, had been turned to advantage. It was the master stroke, that stutter; for it contrived to make her banalities sound somehow original, and secondly, despite her tallness, her assurance, it served to inspire in male listeners a protective feeling. (44)

But it’s not merely her appearance that pulls at the heartstrings of the narrator’s, it’s what’s hidden. She’d clam up just the moment when you think she’s ready for ‘volunteering intimate information’. She doesn’t know what she wants, “when I find out you’ll be the first to know.” She avoids the zoo, ‘couldn’t bear to see anything in a cage,’ yet she’s always looking for a place she can call home. Once she finds it, she’ll give her cat a name. Her card says it all: Miss Holly Golightly, Traveling.

Tolkien had famously said, ‘not all those who wander are lost.’ Here’s a case of one who wanders and is lost yet enjoys it immensely.

Is she for real, or a phony? To be exact, she’s been called a real phony… that is, she believes in her own makeover of herself. Capote reveals Holly’s past history in a poignant way. Best to savour his storytelling first hand. But Holly, whoever she is now, will remain so and go on her diverting life path. The past is exactly where she has left it. At the story’s end, the narrator reminisces with bar owner Joe Bell whom he and Holly used to patronize. Both men know Holly will continue with her ‘travelling’––this time all the way to Brazil––and lament her leaving them behind with mere elusive memories.

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Holly Golightly (Audrey Hepburn) looking into the window at Tiffany’s

Directed by Blake Edwards and screenplay by George Axelrod, Capote’s novella is transposed on screen in 1961 as a romantic comedy, a launching pad for a career takeoff for Audrey Hepburn as Holly Golightly. Capote’s intended female for the role was Marilyn Monroe. Apparently the filmmakers had an eye for the right one. In the movie, Hepburn is an almost exact fit corresponding to Capote’s descriptions, better yet, more mature and alluring, and the stutter replaced by witty eloquence. What more, Hepburn shows the confidence and independence Holly exudes which many thought Monroe could not have matched.

However, a casting that’s a discredit to an otherwise delightful movie is Mickey Rooney as Mr. Yunioshi, the neighbour on the top floor of the brownstone and whose bell Holly rings whenever she loses her front door key, often in the deep of night. In the book, Capote only mentions him shouting down from his top floor, but never describes his appearances. The movie makes a caricature out of Mr. Yunioshi, an offensive portrayal thick with demeaning stereotyped features and mannerism.

Film historian David Thomson refers Rooney’s performance as ‘toxically racist’, and further writes that ‘some people on that picture––the screenwriter George Axelrod, notably––fought with Blake Edwards, the director, about the characterization, but Edwards paid no heed.’ (Thomson, 402)

Notwithstanding, the movie has left audiences with some memorable moments and Hepburn had become an icon. The narrator is given a name and personality; George Peppard plays Paul with matching charm. His quiet and sensible demeanor is a sturdy support to Holly and a needed check to her unbridled exuberance. The pair save each other from their own foibles and failings, bringing the film to a happy romcom ending unlike the book.

The most memorable moment from the film is probably the tune that lingers after all these years. Henry Mancini’s ‘Moon River’ is sung longingly by Holly as she sits on the sill of the open window by the fire escape strumming a guitar. Incidentally, that was a scene at first intended to be cut out if not for Hepburn’s vigorous insistence to keep it in the movie. And we’re all glad that the strong-willed Holly Golightly had her way.

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Breakfast at Tiffany’s by Truman Capote, first published by Random House, NY, 1958.

David Thomson’s quote is taken from his book The Big Screen, published by Farrar, Straus, and Giroux, NY, 2012.

This wraps up Novellas in November at Ripple Effects. Once again, I thank Rebecca of Bookish Beck and Cathy of 746 Books for hosting. Do check out others’ reviews.

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Novellas in November on Ripple Effects, from book to screen:

The Bookshop by Penelope Fitzgerald

Passing by Nella Larsen

Bunner Sisters by Edith Wharton

Breakfast at Tiffany’s by Truman Capote

Film Festivals 2021 Virtual Visit

Due to the pandemic, I haven’t attended a film festival in-person for two years. I miss the atmosphere of being in the midst of activities, the excitement of rushing across downtown Toronto in between screenings, dashing back to the pressroom to write up a timely review, and watching three to four films a day.

Here’s an imaginary list of films I would have watched if I were at TIFF and NYFF in Lincoln Center this September/October. Now, I’ll just have to wait patiently for them to trickle down to our local theatres or the streaming platforms.

TIFF 2019

Belfast

Directed by Kenneth Branagh, TIFF 2021 People’s Choice Award Winner, and historically, that means a path leading to next year’s Oscars Best Picture race. A semi-autobiographical narrative of a nine-year-old boy in 1969 Belfast, and as they say, the rest is history. Stars Judi Dench, Ciarán Hinds… that’s enough for me.

Bergman Island

High on my list of films to watch when it becomes available to the general viewers. French director Mia Hansen-Løve builds her story on Swedish Fårö Island where director Ingmar Bergman lived and made many of his films. A parallel story of a filmmaker couple heading there for retreat and inspiration interfacing with their film characters, blurring fantasy and reality.

The Power of the Dog

Directed by Jane Campion, who just won Best Director with this work at Venice FF. In an interview, Campion pointed out that she got the title from Psalm 22:20, and that Benedict Cumberbatch was spot-on in his portrayal of a Montana rancher. Kirsten Dunst co-stars. Based on the novel by Thomas Savage. TIFF 2021 People’s Choice Award runner-up.

All my Puny Sorrows

The first of Miriam Toews’ eight novels to be adapted to screen. Toews’ writing describes the conflicts and struggles growing up in her Canadian Mennonite community. Curious to see how Toronto director Michael McGowan deals with the internal world of the characters.

The French Dispatch

I won’t miss a Wes Anderson film. Always quirky and colourful, with creative set design and the usual gang is always entertaining, even though the story might not make much sense. Here they are, the usual suspects plus a few more: Bill Murray, Saoirse Ronan, Tilda Swinton, Frances McDormand, Timothée Chalamet, Elizabeth Moss, Adrian Brody, Edward Norton, Willem Dafoe, Owen Wilson…

I’m Your Man

Directed by Maria Schrader and based on a short story by German writer Emma Braslavsky. A humanoid cyborg is created to match all your needs, conscious and subconscious. Scientist Alma Felser (Maren Eggert) is skeptical, but when she meets her ‘man’, played by Dan Stevens (far from Downton), will she change her mind? A sci-fi rom-com with Stevens speaking fluent German in the whole film. Curious?

The Humans

From stage to screen, playwright director Stephen Karam adapts his Tony Award-winning play. Here’s TIFF artistic director Cameron Bailey’s succinct intro: “the Blake family disagrees on everything from religion to politics to the value of work, but each understands that their differences make them stronger, and their joys and sorrows are more meaningful for being shared.” Amy Schumer, Beanie Feldstein and Oscar noms Richard Jenkins, Steven Yeun and June Squibb star.

The Lost Daughter

Maggie Gyllenhaal’s directorial debut, adapting Elena Ferrante’s novel of the same name. Gyllenhaal has already garnered a Best Screenplay at Venice FF this year. While the setting may be on a beach during a vacation, the relational conflicts of characters are what make me so eager to see how the talented cast deliver: Olivia Colman, Jessie Buckley, Paul Mescal, Peter Sarsgaard, just to name a few.

Spencer

After S4 of The Crown, a Diana musical and a Diana feature on Netflix, isn’t it time for a hiatus about Diana, Princess of Wales? Nope. Especially when it’s Kristen Stewart playing her, and the title Spencer could well define what the film might focus on, her identity as herself. Directed by Chilean director Pablo Larraín who brought us Jackie in 2016.

The Tragedy of Macbeth

From a van dweller in Nomadland with which she won her third Oscar Best Actress award, Frances McDormand turns into Lady Macbeth here, partner in crime, or rather instigator, with Denzel Washington as the ambitious Scottish lord. Her real life hubby Joel Coen directs this newest, classy looking b/w interpretation of the Bard’s masterpiece.

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‘The Truth’ Movie Review

When you have a cast consisting of French actresses Catherine Deneuve and Juliette Binoche together with American actor Ethan Hawke, that’s attraction enough. Further, a film written and helmed by the Cannes winning Japanese director Hirokazu Koreeda (Shoplifters, 2018) adds an intriguing element, as this is his first non-Japanese film shot outside of his home country.

Deneuve plays an aging French film actress, Fabienne Dangeville, who has just written a memoir. Already 50,000 sold––and boasting to her daughter twice that number––the success in book sales, however, cannot rescue her from the dimming of her career as a film star.

Reminiscent of French director Olivier Assayas’ Clouds of Sils Maria (2014) where Binoche herself plays a French actress sinking into oblivion as prime acting roles go to the younger and much more popular personalities. But The Truth is lighter in mood and sprinkled with comedic effects and subtle humour.

Fabienne’s daughter Lumir (Juliette Binoche), a screenwriter living in New York, comes all the way to Paris on the occasion of her mother’s book publishing, her husband Hank (Ethan Hawke), an actor, and daughter Charlotte (Clémentine Grenier) in tow. To Lumir, it’s a homecoming after a long while. Cracks between her and her overbearing mother surface as soon as she enters the house.

First off, she’s upset that Fabienne didn’t let her read the manuscript before publication as she had promised. Now reading it for the first time that night, anger replaces disappointment. She confronts her mother the next morning:

 “Who are you kidding? I can’t find any truth in here.”

Fabienne, of course, doesn’t care what her daughter thinks. It’s her memoir, her take. In the book, she presents herself as a loving mother, like finding joy in picking her daughter up from school. Lumir says it’s untrue, for her mother had never picked her up from school, always her dad Pierre (Roger Van Hool) or the family’s faithful servant Luc (Alain Libolt). Her memory of Fabienne is an absent mother who basks in the limelight of her own stardom. In reply, Fabienne says:

“I’m an actress. I won’t tell the naked truth. It’s far from interesting.”

As for Hank, effectively played by Hawke, his duty seems to be there only to support his wife. Not knowing French, Hank is a complete outsider. And in the eyes of his celebrity mother-in-law, he can hardly be called an actor. Daughter Charlotte has a few delightful scenes on the subject of truth and fantasy.

The next day, they all follow Fabienne to the studio for the rehearsal of a film she’s in, but playing a minor role with the major star being a younger, reputed actress Manon Lenoir (Manon Clavel). Now the conflict shifts from mother daughter to that of the fading star and rising talent.

The studio setting is another layer Koreeda has created to bring out cinematic ‘truth’. The green screen itself by its very function works as a fake background, ‘deceiving’ in its purpose. Further, special touch up can alter even the eye colour of the actor. And most hilarious of all, but all wrapped in a serious tone, what we see is an intense scene between two characters alone on screen is actually hovered over in a short distance by a horde of people who are not in costume doing their real-life job. Sarcasm and humour are the subtle effects from scenes like that. Koreeda’s insight is astute in revealing what filmmaking is: fiction pretending to be real.

The middle part of The Truth about the studio shooting is a little weighed down as a play-within-a-play based on a short story by the acclaimed science fiction writer Ken Liu. This section of the movie is complex and multi-layered. While intriguing, it requires more than one viewing for clarity. This too, could well be Koreeda’s intension as he directs a French film, inserting a story within a story, which is a French artistic device, the mise en abyme. Like standing between two mirrors, one can see multiple images.

Overall, The Truth is a light-hearted feature, leisurely paced with embedded humour. Koreeda’s intention might be more cerebral than comical. The cast in itself is appealing enough, presenting a piece of cinema verité showing that truth is elusive even among the closest of family or the most sincere of artistic expressions.

~ ~ ~ Ripples

The Truth is now on Netflix.

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In participation of Paris in July hosted by Tamara at Thyme for Tea

Related Ripple Reviews:

Clouds of Sils Maria directed by Olivier Assayas

Our Little Sister directed by Hirokazu Koreeda

Cannes Film Festival 2021, July 6-17

The pandemic has made armchair travellers of us. As many countries are still keeping Covid restrictions intact, some requiring quarantine for international arrivals, the best way to travel, at least for now, could well be sticking to your imaginary itinerary.

For the highly motivated, the prestigious Cannes Film Festival will resume July 6-17 this year, after a cancelled 2020 event. For filmmakers, this is good news, Cannes is bursting with films that have accumulated since 2019. So, put on your running shoes and head to the Promenade de la Croisette (photo above, source: Wikipedia Commons) and walk up the red carpet at the Palais des Festivals. After Covid, I’m sure the Cannes gate keepers will loosen up a bit with the high-heel code. Instead, Covid measures will be in place.

Saftey protocols include face coverings, social distancing, showing of full vaccination, if unable to provide, there’ll be Covid tests onsite. And, according to Reuters, while there will be ‘no kissing at the top of the red carpet’, festival director Thierry Fremaux said restrictions should not be too onerous.

Imagine you’re at the Palais des Festivals, the venue of the Cannes Film Festival, here’s what you’ll see…

Jodie Foster will kick off the 74th Festival de Cannes as the special guest of the Opening Ceremony. Foster first stepped on the red carpet at Cannes in 1976 when she was only 13 years old as the film she was in won the Palme d’Or, that’s Martin Scorsese’s Taxi Driver. This time, she will be awarded an honorary Palme d’Or.

You might also catch a glimpse of the jury president Spike Lee on the Croisette. Other celebs sightings could well be the stars in the official selections. The following are the ones I anticipate watching (For the full list, click here to the Cannes website)

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In Competition:

Annette (France) – Opening Film, Leos Carax directs Marion Cotillard, Adam Driver

Bergman Island (France) – Mia Hansen-Løve directs Mia Wasikowska, Tim Roth

Drive My Car (Japan) –  Ryûsuke Hamaguchi directs Hidetoshi Nishijima, Masaki Okada

Flag Day (USA) – Sean Penn directs Katheryn Winnick, Josh Brolin, Sean Penn

Memoria (Thailand) – Apichatpong Weerasethakul directs Tilda Swinton, Daniel Giménez-Cacho

The French Dispatch (USA) – Wes Anderson directs Timothée Chalamet, Elizabeth Moss, Frances McDormand and all the Wes Anderson usuals

A Hero (Iran) – Asghar Farhadi directs Amir Jadidi, Mohsen Tanabandeh

Un Certain Regard:

Blue Bayou (USA) – Justin Chon directs Justin Chon, Alicia Vikander

After Yang (USA) – Kogonada directs Colin Farrell, Jodie Turner-Smith

Cannes Premiere:

In Front of Your Face (Korea) – Hong Sang-Soo directs

Mothering Sunday – Eva Husson directs Olivia Colman, Colin Firth, Josh O’Connor

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‘The Father’ depicts dementia in suspenseful realism

Dementia is a land where its inhabitants can never come out, and visitors can only look in from the outside. To add to the isolation, they speak a different language outsiders don’t understand.

In his role as an 80-year-old man afflicted with dementia in The Father, Anthony Hopkins has shown he’s an apt interpreter of that language. With his astute performance, the iconic British actor becomes the oldest person to win an acting Oscar this April, his second after The Silence of the Lamb in 1992.

The Father is based on the 2012 play Le Père by French playwright director Florian Zeller. It received the Molière Award for Best Play in 2014. The English version was translated by Christopher Hampton in 2016 and performed on Broadway. Hampton and Zeller co-wrote the adaptation to film. At this year’s Academy Awards, they won Best Adapted Screenplay. This is Hampton’s second Oscar win for writing; his first was for Dangerous Liaison in 1988. And for Zeller, his debut feature garnered six Oscar nominations including Best Picture.

Zeller’s intriguing way of storytelling lets viewers experience vicariously what a dementia sufferer goes through. First off, it is uncanny that Hopkins’s character is named Anthony. The film is shot from his point-of-view.

The editing by Yorgos Lamprinos strings together seamlessly the conflicting perspectives of Anthony’s: the mingling of memories, the confusion of happenings and imagination, the loss of a timeframe for past events, the distortion of present realities, and perhaps most disturbing for those close to him: unrecognizable faces. Describing how Zeller achieve these effects will be like giving out spoilers. I’ll just say this, The Father is like the Rashomon of dementia.

Zeller’s film is cinematic realism depicting the condition of dementia. The confused, bewildered look of Hopkins in close ups is accompanied by repetitive, eerie music, rendering the scenes suspenseful, not far from a Hitchcockian thriller. When one has lost the capacity of one’s brain, it is a scary experience. Anthony knows his way down the hallway to his room, but is this his flat? Where’s his watch, again? And, what happened to that painting that used to be hanging on the wall? The cast of seven brings out a powerful narrative in just 97 minutes.

Another realistic portrayal is Olivia Colman as the daughter Anne, who has to convince her father that he needs help. She struggles with the conflict between filial love and personal freedom, her husband (Rufus Sewell) does not make things easier for her either. And to complicate matter further, Anne is not her father’s favourite but her younger sister Lucy…

We’ve had a couple of excellent films on the subject of aging and dementia in the past. Away from Her (2006) directed by Sarah Polley who adapted Alice Munro’s short story is about a wife stricken by Alzheimer’s, and Michael Heneke’s Amour (2012) narrates an aging husband caring for his debilitated wife after her stroke, both received Oscar nods. Zeller has contributed to this repertoire of films with a perspective from the point-of view of the patient, adding to it a daughter’s internal conflicts.

No matter how much Anne tries to keep her father living with her, his condition needs professional care and monitoring, something she finds hard to get through to a dementia patient who is determined to be self-reliant. Colman’s performance is sensitive and moving.   

A very clever man, this father hasn’t totally lost it. The scene where he meets his new caregiver Laura (Imogen Poots) in Anne’s home shows how sharp he can still be, and not just Anthony the character, but Hopkins the actor, who is in his top form.

Original music is by Ludovico Einaudi (Nomadland, 2020) whose score reflects the mental state of Anthony’s, enhancing the cinematic effects. The opera music at the beginning of the film which Anthony is listening to, and later reprises is from Bizet’s Les pêcheurs de perles. The poignant piece is his link to the person he once was, the song entitled Je crois entendre encore: ‘I believe I still hear.’

Eventually, the inevitable question has to be asked by Anthony, an antithesis to a cathartic ending: ‘Who exactly am I?’

~ ~ ~ 1/2 Ripples

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Related Reviews on Ripple Effects:

Away From Her

Rashomon and other Stories by Ryunosuke Akutagawa

And When Did You Last See Your Father

Asian Heritage Month Movie List

May is Asian American and Pacific Islander Heritage Month. In Canada, it’s Asian Heritage Month. Asia is the largest continent in the world, encompassing countries from the Middle East to the Pacific Islands. As this event is celebrated in North America, the term refers to North Americans born or naturalized and living in the US and Canada with ancestral heritage from these countries. Interestingly, I find this Good Housekeeping site highly informative regarding the AAPI references.

There are many movies made by filmmakers of this demographics in North America. The following are some worthy titles, each has its unique way of leaving a mark. Links are to my reviews on Asian American Press or Ripple Effects.

I’m presenting my list in chronological order to highlight the historical development.

The Joy Luck Club (1993)

Movie poster from 1993

The first studio film with a mostly Asian American cast flying into the ‘mainstream’ radar. Adapted from Amy Tan’s debut novel, it tells the stories of multigenerational Chinese immigrant families in America. The breakout film of director Wayne Wang, who at that time had been making movies for over 10 years. Unfortunately, it would take twenty-five more years for another feature of the kind to come out.

Water (2005)

India born Canadian director Deepa Mehta’s final work in the Elements Trilogy, Water was an Oscar nominee for Best Foreign Language Film representing Canada in 2007. The heart-wrenching plight of a little Indian girl is told with beautiful cinematography. A ‘Foreign Language Film’ from Canada? Yes, just shows the multiplicity of our identity and the blurring definition of the word ‘foreign.’ This Oscar category was renamed Best International Feature Film in 2020.

The Namesake (2006)

Here’s a prime example of the multiplicity of identity. A film adaptation by the acclaimed Indian-American director Mira Nair. The Namesake (2003) is the first novel by Jhumpa Lahiri, the London born American Pulitzer winning writer of Indian descent, who now resides in Italy and writing in her adopted language, Italian. The story depicts a colourful and conflicting journey of the America born second generation visiting their parents’ homeland.

Life of Pi (2012)

This adaptation of Yann Martel’s Booker Prize winning novel was the winner of Oscar Best Picture in 2013 and with it, Taiwanese American Ang Lee won his second Oscar for directing. Stunning CGI visuals transfer Martel’s magical realism onto the big screen to tell the story of a 16 year-old youth adrift in the Pacific Ocean with a Bengal tiger. Opportune time and place to explore existential issues. Both book and film are worthy of the accolades they had garnered.

The Big Sick (2017)

The real-life, mixed-race marriage of actor/comedian Kumail Nanjiani and his therapist wife Emily V. Gordon co-wrote this screenplay about a mixed-race courtship between a Pakistani American comedian and his love interest, a white young woman played by Zoe Kazan, with Holly Hunter and Ray Romano as her parents. An entertaining depiction of cultural clash and final resolution.

Columbus (2017)

A quiet, visual depiction of the interplay between modern architecture, human relationships, and the existential search for meaning and connection. A most unusual subject matter aesthetically handled by Korean American director Kogonada. John Cho breaks away from the type cast as Sulu in Star Trek to prove himself worthy as a character actor of quality.

Crazy Rich Asians (2018)

The new trend Asian American filmmakers and talents hope to see, twenty-five years after The Joy Luck Club. Director Jon M. Chu turns Kevin Kwan’s breakout novel into a blockbuster hit, catapulting Asian American talents to mainstream fame: Constance Wu, Awkwafina, Henry Golding (ok, so he’s a British Chinese), Gemma Chan (she too), with the full support of international star Michelle Yeoh (the first Asian Bond Girl in Tomorrow Never Dies.)

Free Solo (2018)

Husband-and-wife directors Jimmy Chin and Elizabeth Chai Vasarhelyi captured the stunning climb made by Alex Honnold up the 3,000 feet vertical wall of El Capitan in Yosemite National Park with only his bare hands and feet, solo and free from ropes and safety gears. Chin is himself a renown mountain climbing legend and photographer, having mounted Meru Peak in the Himalayas, as well as Everest several times. Oscar winner of Best Documentary Feature in 2019.

Driveways (2019)

Korean American director Andrew Ahn tells the story of an ageing Korean war veteran’s friendship with a shy 8-year-old boy (Lucas Jaye) who shows up with his single mom (Hong Chau) next door. A quiet and poignant portrayal of friendship that crosses the borders of age and race. One of Brian Dennehy’s last films before his death in 2020 at age 81. A nominee for Best Feature Film at the Berlin International Film Festival in 2019.

Late Night (2019)

Daughter of Indian immigrants, Mindy Kaling has made a name for herself with her versatility as a comedian, actor, writer, producer, and director. Late Night is her own story, parallel with her career starting out in The Office as a writer and actor. Here, a girl of Indian ethnicity enters into a late night TV show as a writer, serving the very demanding host Katherine Newbury, played by Emma Thompson. Directed by Nisha Ganatra, a Canadian American of Indian descent. A delightful film.

The Farewell (2019)

Chinese American director Lulu Wang shares her own family experience boldly in this semi-autobiographical film. The cultural perspectives of how to deal with a family member with terminal illness could be totally opposite. Instead of a judgemental tone, the film uses an artistic styling and humour to tell a very personal story. Awkwafina became the first Asian American to win a Golden Globe Best Actress in a Motion Picture for her fine performance.

Minari (2020)

MINARI_02405_R Alan S. Kim Director Lee Isaac Chung Credit: Josh Ethan Johnson

The trend continues. With six Oscar nominations this year and one win by South Korean veteran actress Youn Yuh-jung who plays the eccentric grandma of the family. Directed by Lee Isaac Chung, Minari is an autobiographical drama of Chung’s childhood growing up in an Arkansas farm operated by his immigrant father from South Korea. Gentle and slow-paced storytelling with a powerful punch.

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Women Direct Films

When did women first direct films? If you type these words in your search engine, you’ll see this year pop up: 1896 and the name Alice Guy-Blaché (1873-1968). In her filmmaking career that spanned over two decades, Alice Guy had written, directed, or produced more than a thousand films in France and later in America. She was a pioneer in fictional narratives, comedies, actions, travelogues, musicals (yes, films with sound), just to name a few categories of her cinematic works.

Be Natural: The Untold Story of Alice Guy-Blaché (2018), directed by Pamela Green and narrated by Jodie Foster is a fascinating documentary, a must-see, now streaming on the free platform Kanopy.com. “Be Natural” were signs Alice Guy put up in her studio for her actors as a reminder.

Cut to 2010. In the annual study The Celluloid Ceiling on women behind-the-scene employment in filmmaking, only 2% of the top 250 films made that year in the US were directed by women. In 2018, it was 4%. Then there was a big jump in 2019 to 12%. In 2020, due to the pandemic, the study included 100 top films instead of 250, the percentage of women directors increased to 16%.  

2019 appears to have marked a tipping point, hopefully a trend that stays, as more women are being recognized as ‘profitable’ in the filmmaking business. Further, people also found out women can direct various genres, including action and superheroes movies too. Just wonder what Alice Guy would had thought if she were around.

On this day, March 8, 2021, in honor of the many woman directors working, I’m posting a list with their names first then their works released for the year back to 2019. This is only a selection and mainly for films distributed in North America. You might recognize some names or titles of books. In alphabetical order:

2021

Ana Lily Amirpour – Mona Lisa and the Blood Moon

Clio Barnard – Ava & Ali

Camilla Belle – Phobias

Shari Springer Berman (co-director) – Things Heard and Seen

Halle Berry – Bruised

Kay Cannon – Cinderella

Jane Campion – The Power of the Dog 

Nia DaCosta – Candyman

Livia De Paolis – The Lost Girls

Julie Delpy – My Zoe

Claire Denis – Fire

Augustine Frizzell – The Last Letter from your Lover

Maggie Gyllenhaal – The Lost Daughter

Rebecca Hall – Passing

Sian Heder – CODA

Joanna Hogg – The Souvenir: Part II

Eva Husson – Mothering Sunday

Lisa Joy – Reminiscence

Dea Kulumbegashvili – Beginning

Mélanie Laurent – The Nightingale

Lena Khan – Flora & Ulysses

Castille Landon – Fear of Rain

Mia Hansen-Løve – Bergman Island

Lila Neugebauer – Red, White and Water

Megan Park – The Fallout

Amy Poehler – Moxie

Céline Sciamma – Petite Maman

Cate Shortland – Black Widow

Liesl Tommy – Respect

Kate Tsang – Marvelous and the Black Hole

Lana Wachowski – The Matrix 4

Olivia Wilde – Don’t Worry Darling

Robin Wright – Land

Robin Wright, Catherine Hardwicke – Together Now

Chloé Zhao – The Eternals

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2020

Niki Caro – Mulan

Sofia Coppola – On the Rocks

Autumn de Wilde – Emma

Josephine Decker – Shirley

Clea DuVall – Happiest Season

Mona Fastvold – The World to Come

Emerald Fennell – Promising Young Woman

Nisha Ganatra – The High Note

Liz Garbus – Lost Girls

Julia Hart – I’m Your Woman

Eliza Hittman – Never Rarely Sometimes Always

Patty Jenkins – Wonder Woman 1984

Natalie Erika James – Relic

Miranda July – Kajillionaire

Regina King – One Night in Miami

Roseanne Liang – Shadow in the Cloud

Phyllida Lloyd – Herself

April Mullen – Wander

Mira Nair – A Suitable Boy

Gina Prince-Bythewood – The Old Guard

Dee Rees – The Last Thing He Wanted

Adriana Trigiani – Then Came You

Cathy Yan – Birds of Prey

Jasmila Zbanic – Quo vadis, Aida?

Chloé Zhao – Nomadland

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2019:

Elizabeth Banks – Charlie’s Angels

Chinonye Chukwu – Clemency

Mati Diop – Atlantics

Lisa Barros D’Sa – Ordinary Love

Anna Boden (co-direct) – Captain Marvel

Gabriela Cowperthwaite – Our Friend

Nora Fingscheidt – System Crasher

Nisha Ganatra – Late Night

Sarah Gavron – Rocks

Greta Gerwig – Little Women

Rose Glass – Saint Maud

Kitty Green – The Assistant

Alma Har’el – Honey Boy

Marielle Heller – A Beautiful Day in the Neighborhood

Kathleen Hepburn, Elle-Máijá Tailfeathers – The Body Remembers when the World Broke Open

Nahnatchka Khan – Always Be My Maybe

Jennifer Lee (co-director) – Frozen II

Kasi Lemmons – Harriet

Melina Matsoukas – Queen and Slim

Shannon Murphy – Babyteeth

Lydia Dean Pilcher – A Call to Spy

Kelly Reichardt – First Cow

Lorene Scafaria – Hustlers

Angela Schanelac – I was at Home, But…

Céline Sciamma – Portrait of a Lady on Fire

Lulu Wang – The Farewell

Olivia Wilde – Booksmart

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Related Ripple Reviews:

Nisha Ganatra’s Late Night

Greta Gerwig’s Little Women

Kelly Reichardt’s Certain Women

Lulu Wang’s The Farewell

Ripples from the history-making 78th Golden Globes

Last night I dreamt I was interviewing Chloé Zhao. Not just a sit-down interview, but I actually hung out with her as buddies. That was a dream, and that much is true.  

Before the dream, I was watching the 78th Golden Globes Awards show aired live last Sunday night. This year, it’s a much scaled down, stripped to the minimal, virtual event. The show must go on, as they say. So, we have Amy Poehler from the Beverly Hilton in Los Angeles and Tina Fey from the Rainbow Room in New York being pulled together on one screen as if they were standing side-by-side for the fourth time hosting. A technical marvel.

Nominees were at home or wherever they were at that moment, wearing whatever they felt like, watching and giving acceptance speech via their own small screen. A few of them were at the Beverley Hilton adorning glamorous, designer gowns, a reminder of previous Globe glitters and the red carpet.

Other than the unprecedented format, history was made last Sunday night.

Chloé Zhao became the second woman to win the Best Director Golden Globe award in the 78-year history of the Hollywood Foreign Press Association’s annual extravaganza. She is also the first Asian woman to do so. What more, her film Nomadland won the top prize, Best Motion Picture – Drama. As a co-producer, she became the first woman producer of Asian descent to receive that accolade.

For a historical reference, Barbra Streisand was the first female to win a Best Director Golden Globe with Yentl in 1984. Taiwanese-American Ang Lee claimed that honor twice with Crouching Tiger, Hidden Dragon in 2001 and Brokeback Mountain in 2006, the only other Asian American to take that award.  

If it’s not due to Covid 19, never could there be a Best Director and Best Motion Picture winner accept the Golden Globe dressed in an olive color t-shirt, hair in pigtails. She probably might not be at home, maybe at work on location. But still, I remember the Cannes controversy where female stars were frowned upon––no they didn’t outright say ban––for not wearing heels on the red carpet.

It’s in this unassuming manner that Chloé (I’m sure she wouldn’t mind me calling her by her first name) picked up her color-matching mug to toast everyone and gave her virtual acceptance speech. Quoting the ‘guru’ among the nomads, Bob Wells, she said:  

“Compassion is the breakdown of all the barriers between us. A heart-to-heart bonding. Your pain is my pain. It’s mingled and shared between us.” She then went on to say, “this is why I fell in love with making movies and telling stories cause it gives us the chance to laugh and cry with each other, to learn from each other, to have more compassion for each other.”

An iconoclast, no doubt. If not because of the pandemic, I can’t imagine a female Globe winner in a t-shirt and I assume, no make-up, and speaks from her heart, not to shun the glitter of the gold but just to be her normal self of a human being, most likely here too, as an identification with the nomads in her film.

Accepting the Best Motion Picture – Drama award, she said about Nomadland:

“At its core, for me, it’s a pilgrimage through grief and healing. So, for everyone who has gone through their difficult and beautiful journey at some point in their lives, this is for you. We don’t say goodbye, we say see you down the road.”

Maybe that image rippled in my mind as I went to sleep and conjured up that dream…

Well, see you down the road, Chloé. And hopefully then, not in a dream, but for real.

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Related Ripple Posts:

Nomadland Book Review

The Rider is Poetry on Screen

Top Ripples 2020

Rewatching Little Women


Greta Gerwig’s Little Women (2019) is on Amazon Prime Video now. I watched it twice in the theatre last year, now rewatching it at home gives me another kind of pleasure: more intimate, easier to observe nuances, and replay memorable lines on demand. It remains one of the best films I’ve watched in recent years.

Reposting here my review. Hope you have a chance to watch it.

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Little Women is not just about heart, but mind, aesthetics, and other enjoyment

Greta Gerwig’s adaptation of Little Women is a joyous celebration of family and life. It’s an innovative feature, and a worthy rendition keeping Louisa May Alcott’s story intact and her spirit alive. The storytelling is shifted from linear to juxtaposing the timelines of seven years apart, from the March sisters’ teenage years to adulthood. A break from traditional adaptations of the novel, and a structure modern movie goers are familiar with.

So, instead of waiting for two hours to see what have become of the girls, viewers get to see how they’ve turned out from the start and throughout the film as the timelines switches back and forth. One effect is the intermingling of memory and present reality, adding texture to just linear storytelling. The editing is smooth as music and sound often overlap the changes of scenes like a visual dissolve.

The Oscar nominated director (Lady Bird, 2017) has surpassed herself in crafting an exquisite piece of artful creation. Unlike most other movies nowadays, Little Women is shot using 35mm film rather than digital technology. Cinematographer Yorick Le Saux offers viewers the inherent aesthetics of the medium, a grainy, more subtle visuals that augment picturesque New England in the exterior shots, and the depth and mood in the low-light interior. The picnic scene at the beach is pure delight. Mixed with Alexandre Desplat’s original music, the film is a beauty to behold.

Alcott’s 19th century American classic (1868-9) has been transposed to the big and small screen many times. No matter what your previously held memory is, Katherine Hepburn as Jo back in the 1933 first adaptation, or Elizabeth Taylor as Amy in 1949, or the 1994 adaptation with Susan Sarandon as Mrs. March and Wynona Ryder as Jo and a few up-and-coming youngsters such as Kristen Dunst, Claire Danes, and Christian Bale (as Laurie), Gerwig’s 2019 rendition is worthy to be the definitive version from now on as we head into the third decade of the 21st century.


The story is told from the point of view of Jo (Saoirse Ronan), an aspiring writer in New York at present. She reflects upon her path so far and reminisces on her family life, the cacophony of sisterhood in a busy household in Concord, MA, during the Civil War.

A single woman author pitching to publishers, Jo’s struggles parallel Alcott’s, a woman writer in a man’s world. As well, it would be apt to refer to Gerwig’s own challenges as a female writer/director in the present day movie industry.

The film is an alchemy of authentic, period backdrop and set design, stylish yet down-to-earth costumes, fused with a fresh and contemporary synergy. Credits go to the four young actors bringing to life the March sisters Meg (Emma Watson), Jo (Saoirse Ronan), Beth (Eliza Scanlen) and Amy (Florence Pugh) as they live through hard times while their father has gone with the Union Army as a volunteer chaplain. Their neighbour and friend Laurie (Timothée Chalamet) remains a perpetual presence in their lives. Their altruistic mother, Marmee (Laura Dern), holds the family together and extends her care to those in need outside their home. She is the example of love and heart for her daughters to emulate. Her screen presence is comparatively small though as Gerwig lets her girls shine, especially Jo and Amy.

A touch of surprise for me is that Gerwig has kept the historic period and setting authentic without adding any postmodern quirks to shock or provoke. Her script allows Alcott’s points to flow out through the dialogues and characters within context. This is not fiery feminism, but an intelligent depiction of the status of women in the historic period. It’s an updated version doing justice to Alcott’s astuteness in her social critique which is, alas, still relevant today.

Kudos to Gerwig in bringing out the youngest sister Amy, not so much as a foil to Jo, but a worthy rival. Amy proves that even though bratty and capricious as a child, she has grown up to grasp a clarity in seeing the worth of a woman in her society, which is, not much. The realistic and rich Aunt March (Meryl Streep) has a firm view of this: it’s a lost cause with Jo who says she will not marry, or Meg who falls for a poor teacher and has to curb her material desires, and Beth’s ill health, she has put her hope on Amy to marry rich to dig the family out of poverty. Amy who has lived with her Aunt for a while when Beth is sick with scarlet fever understands her own situation with a cool head as she articulates it to Laurie. Knowing that she doesn’t have what it takes to be a truly great artist––she whose stance is to be great or nothing––Amy sees her predicament clearly. It all comes down to economics:

And as a woman, there’s no way for me to make my own money. Not enough to earn a living or to support my family, and if I had my own money, which I don’t, that money would belong to my husband the moment we got married. And if we had children, they would be his, not mine. They would be his property, so don’t sit there and tell me that marriage isn’t an economic proposition, because it is. It may not be for you, but it most certainly is for me.

Virginia Woolf’s A Room of One’s Own comes to mind as she argues that economic disparity between men and women systemically disadvantages talented women to become successful.

In her research, Gerwig delves into Alcott’s other books as well as letters, thereby knowing her from a deeper perspective and not just from the novel Little Women. This understanding and appreciation is translated into the screenplay, capturing Alcott’s sharpness of mind and the sensitivity of her soul. Here’s a poignant scene as Jo pours out her heart to Marmee after rejecting Laurie’s marriage proposal. Has she made the right decision? In an interview, Gerwig says the words are all Alcott’s, from her book Rose in Bloom, except the last sentence added by Gerwig herself, equally brilliant, piercingly clear, and very Dickinson:

Women have minds, as well as just heart; ambition and talent, as well as just beauty. And I’m so sick of people saying love is all a woman is fit for. But I’m so lonely.

The March family has had their share of misfortune. But life can be beautiful for those who behold it as such and deem it meaningful to pursue one’s own dream or simply to enjoy one’s passion, no matter how short the allotment of time. Despite challenging personal and social reality, it’s a bliss to be alive, and yes, even better when one succeeds. Gerwig has effectively brought out this theme with both sensitivity and heart. The ending scene speaks to this truth. 

~ ~ ~ ~ Ripples

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Related Posts:

Top Ripples of 2019 and the Decade

Women Directors of my Favourite Films

Certain Women: To Connect on a Vast Landscape

Recent Movies and Series Directed by Women

Yesterday while driving I heard the stirring theme music of the movie The Piano (1993) played on CBC Radio 2. Memories flooded my mind. I recalled watching it in the movie theatre way back then. A deaf-mute unable to speak but can overwhelm others as she plays the piano to express herself.

I thought of Jane Campion, writer/director of the film, marvelled at her skills in conveying thoughts and emotions via the visual medium, and thought of other women directors who’d helmed many of my favourite films. I’ve had two previous posts on Women Directors here and here. Now taking stock mentally of the recent movies and series I’ve watched on Netflix, Amazon Prime, and Kanopy while home-staying, I notice several of them are created and/or directed by women.

The Piano

Consider the following list with my capsule reviews an update of my previous Women Directors posts.

A Beautiful Day in the Neighborhood (Amazon Prime) – Directed by Marielle Heller 

Director Heller and the screenwriters transport Mr. Roger’s child-friendly, essential human wisdom to realistic, adult situations. The film isn’t so much about Mr. Rogers but the real-life story of journalist Tom Junod’s life-changing encounters with Fred Rogers for a magazine assignment. Tom Hanks is ideal as Mr. Rogers, and Matthew Rhys is effective in playing journalist Lloyd Vogel.

Who’s Matthew Rhys, you might ask? I highly recommend you watch “The Americans” series. Or, if you’re an Austen spinoffs fan, he’s Mr. Darcy in the mini-series “Death Comes to Pemberley”, adaptation of the novel by P. D. James. And, if you were around to watch the original Raymond Burr detective series on TV, the Wales-born actor is the new Perry Mason in our time.

Little Fires Everywhere (Amazon Prime) – Created and screenplay by Liz Tigelaar, Directors Lynn Shelton and Nzingha Stewart. 

The 8-Episode mini-series is the screen adaptation of Asian American novelist Celeste Ng’s second novel. My full book review can be found here. The thematic elements of race, motherhood, family secrets, clashes of generations and values are visualized and made more acute as Kerry Washington is cast as an African-American artist playing against Reese Witherspoon as Mrs. Richardson, the gatekeeper of the white upper-middle-class community of Shaker Heights, OH. The artist Mia Warren in Ng’s novel isn’t black, but turning her into one makes the conflict of the story more timely and pressing.

Four episodes are directed by Lynn Shelton who sadly died in May, 2020. Another female director Nzingha Stewart helmed two.

Never have I Ever (Netflix) – Created by Lang Fisher and Mindy Kaling. Directors Linda Mendoza and Anu Valia 

Here’s a recent trend that’s encouraging. Movies and series are created to feature minority cultures in America. The talented Mindy Kaling, who wrote the screenplay and co-starred with Emma Thompson in Late Night (2019) plus many other credits, created this comedy series about high school girl Devi’s experience growing up Indian-American, something Kaling knows full well. Many LOL situations and dialogues throughout the ten episodes. Kaling scouted Maitreyi Ramakrishnan in Mississauga, ON, Canada, to play Devi. A fresh look into the multi-cultural humanity that our North American population comprises. In recent years we talk a lot about representation. This is a humorous and realistic look into a vibrant sector.

The Half of It (Netflix) – Directed by Alice Wu

Here’s another lens to look into our younger generation growing up bi-cultural. The full length feature directed by Chinese-American Alice Wu is this year’s Tribeca Film Festival’s Best Narrative Feature winner. A shy academic ace, Ellie Chu, earns her pocket money from writing essays for her fellow classmates. When one day, she’s recruited by the school jock Paul Munsky to be a ghost writer of poetic love letters to a girl he tries to date, Ellie begins to feel a moral dilemma. The characterization and storyline make this feature a contemporary twist on Shakespeare’s Twelfth Night. Humor is situational with some poignant scenes, making the film all the more enjoyable.

Unorthodox (Netflix) – Created by Anna Winger, Directed by Maria Schrader

Inspired by the memoir of Deborah Feldman, who broke away from her strict Hasidic Jewish community in Brooklyn, NY, and escaped to Berlin where she changed into a new persona and started a different life. I haven’t read the memoir but I know the four-part mini-series take the liberty to re-imagine how she goes about changing her life while in Berlin. The series is captivating as viewers are introduced to the Hasidic, male-dominated and authoritarian community. Again, there are many cultural sectors in our society and through films we get to know a little bit more of how others live and the struggles they go through.

Ophelia (Netflix) – Directed by Claire McCarthy

Adaptation of the book by Lisa Klein, screenplay by Semi Chellas, Ophelia is a re-imagined story of what happened in the royal castle of Elsinore and in particular, Hamlet’s sweetheart. Lots of liberty in tweaking and twisting but still interesting to watch, albeit a lightweight Hamlet compared to the original. Notable cast includes Naomi Watts as Gertrude, Clive Owen as Claudius. Hamlet is played by George MacKay before his titular role in the WWII movie 1917, and Ophelia is Star War‘s Rey Daisy Ridley.

Hamlet (Kanopy) – Film Direction by Margaret Williams, London Stage Direction by Sarah Frankcom

A filmed recording of the play performed in Royal Exchange, Manchester. This Hamlet is a fresh take with Maxine Peake as the emotionally devastated and revengeful Prince of Denmark. Only after watching that I Google search to find the first female to play Hamlet dates back to 1796 in London Drury Lane, then 1820 in New York. Several others had followed since. But this is my first time watching. Maxine Peake’s performance almost instantly cast away all my preset feelings. She’s high-octane energy; her voice, physical stage presence totally captivate, convincing yet delicate. She’s herself and not an impersonator. Modern costume makes it more natural and, love her haircut. Peake makes me look at her not as a female taking up a male role, but a superb actor playing the ‘Everest of roles’.