Feminéma’s Best of 2010: “Winter’s Bone”
16 January 2011
Living outside of New York, LA or Chicago means I haven’t had the chance to see a lot of this year’s critics’ picks for best film, like Olivier Assayas’ Carlos, Mike Leigh’s Another Year, and Sofia Coppola’s Somewhere. Even given those gaps, however, I want to make an argument for Debra Granik’s Winter’s Bone as the year’s best film and as the right film for the award during a hard year of financial crisis and jobless recovery.
I could have chosen a film that exemplified the movies’ capacity to tell great stories that take us outside ourselves to that place of pleasure and wonder. Winter’s Bone might not have been so feel-good, but it was just as great a tale as Toy Story 3, True Grit, The Kids Are All Right, or The King’s Speech. It made a better and more unpredictable thriller than Black Swan or A Prophet, and much, much better than The Ghost Writer, Shutter Island, and Inception.
In my mind, its real battle is with David Fincher’s The Social Network, a battle it will surely lose. The Social Network benefits from a timely story, massive ticket sales, an all-star directing/writing/production team, and — let’s face it — the focus on dudes and those epic battles involving testosterone and enormous sums of money that make voters for the Academy cream their pants. In contrast, Winter’s Bone has a little-known female director and co-writer, an unknown female lead who doesn’t prettify herself, and an all-poverty setting in the Missouri Ozarks where meth dealing and squirrel-eating are ways of life. The film appeared in theaters all the way back in July rather than late this fall. In short: no matter how much it might be the better film, or at least just as good as The Social Network, Winter’s Bone doesn’t have a chance.
But here’s why we should vote for it: because it tells one of the real stories of 2010: of poor people clinging on by their fingernails. It doesn’t have lines like “A million dollars isn’t cool. You know what’s cool? A billion dollars.” (And here I’m thinking about how much I objected last March to the fact that Sandra Bullock beat out Gabourey Sidibe for best actress — a choice that reveals our determination to feel good at the movies.) The story it tells — of a teenaged girl trying to keep her family together with a roof over their heads — doesn’t distract us from our own problems, sure, but that’s why the film’s terrific storytelling and perfect cast are so crucial. The fact that she succeeds in the end makes it even more appealing for our troubled times than the deeply ambivalent conclusion of The Social Network.
I have other reasons for pushing the film. In the wake of Kathryn Bigelow’s Best Director win at the Academy Awards for The Hurt Locker, 2010 turned out to be a comparatively great year for female directors — with Nicole Holofcener, Lisa Cholodenko, Coppola, and Granik releasing top-notch films. But unlike last year, there’s little grassroots movement to push female-directed films into the top level of competition for an Oscar, no matter how superior their films might be. For me, the battle isn’t won until women are nominated more often, and when women directors get nominated for films that have women in them. (Just like it was great in 1981 to get the nation’s first female Supreme Court justice with Sandra Day O’Connor, but even better when Ruth Bader Ginsberg brought a feminist consciousness to the Court in 1993, a choice that truly benefited other women.)
- Best film: Winter’s Bone
- Best director: Debra Granik for Winter’s Bone
- Best female actor: Kim Hye-ja for Mother (Korea, dir. Bong Joon-ho)
- Best male actor: Colin Firth for The King’s Speech
- Best female supporting actor: Dale Dickey for Winter’s Bone
- Best male supporting actor: Matt Damon for True Grit
I have more to say about what a great year it was for interesting female parts and terrific female acting — my choices for best actress and supporting actress were really hard to narrow down, whereas Firth simply has no competition for best actor. But that’ll wait till another time. In the meantime I’m going to keep arguing for Winter’s Bone, and I hope you do too.
Filed in 2010s films, Aaron Sorkin, David Fincher, Debra Granik, female directors, Film awards and prizes, film noir, gender gap, Jennifer Lawrence, Kathryn Bigelow, Mother (Madeo), Nicole Holofcener, Please Give, Sofia Coppola, Somewhere (2010), The curious case of women in film, The Hurt Locker, The Social Network, The woman problem in the media, Winter's Bone
Tags: Colin Firth, Dale Dickey, David Fincher, Debra Granik, Kim Hye-ja, Matt Damon, The Social Network, Winter's Bone