26 February 2012
Here’s why I always lose Oscar betting pools with my friends: I try to make the Oscars about something bigger.
For example: I truly don’t understand why The Descendants gets so much love. It’s the story of a rich guy who’s selling off thousands of acres of pristine land so he and his family can phenomenally richer — and all of this when unemployment was still at 9% or whatever … well, you can appreciate why I get cranky about things.
I was also nonplussed by last year’s Up in the Air. We’re in the midst of a financial crisis and I’m supposed to emote on behalf of the dude who goes around firing people? It’s gonna have to be a goddamn fantastic film to get me over that obstacle.
Don’t worry: this post has its eyes on the actual nominees, not the films that didn’t get noticed (but how did Take Shelter not get a single nomination?).
Best Actor and Actress: in which I apply the “99% rule,” aka “redistribute the wealth.”
Critics seem to be guessing that George Clooney will win this, according to some kind of logic that we all like the guy and he’s been doing good work. I say that sounds like an old boys’ club if I ever heard one; this is why that “good guy” at work gets promoted and you don’t.
Don’t get me wrong: I love Clooney. I love love him. But I don’t think he’s the best actor of the year, and certainly not for this film. The award should probably go to Jean Dujardin, who was effervescent in a lovely (and better) film. I’ll be delighted if Dujardin wins.
But because I’m feeling contrarian, I’m rooting for Demián Bichir — the stellar Mexican actor who’s so unknown in the U.S. he’s not even a dark horse in this category; the guy who appears as an undocumented worker just trying to make a better life for his kid in L.A. Bichir’s character is so much a member of the 99% that he’s practically off the map — and that’s why he should win Best Actor.
Look, A Better Life wasn’t great. Neither was The Help or The Iron Lady, for that matter. C’mon, members of the Academy — look beyond your white, male, privileged bubbles to the world around you, even just that guy who cuts your grass, and vote for something beyond yourselves.
Using the same logic, my Best Actress choice is Viola Davis, who gives a stellar performance in a pretty crappy film. It’s impossible to compare her role to Meryl Streep’s — Streep dominates virtually every scene in The Iron Lady and shows off so many virtuoso chops that Streep almost looks like a little rich kid surrounded by presents at Christmas. Davis, meanwhile, is so much a part of an ensemble production that she might well have been relegated to the Supporting Actress category.
But you know what? No matter how disappointing was The Help, we’ll remember Davis. She’s just so good — so transcendent in a sea of embarrassing writing and directing — and her kind of goodness is important to the field of acting in 2012. 99%, bitchez!
What a year for the ladies! I’m so delighted with this field that I’m not sure where to go. Should I stick with my 99% rule and root for the magnificent Octavia Spencer? Should I stick with my Foreigners Deserve to Win Oscars rule and root for Bejo? (Well, that probably wasn’t going to happen, honestly.) Should I assert my Women Of All Sizes rule and root for McCarthy, who practically stole Bridesmaids out from under all those top-billed/ skinny women?
I’m going with my heart on this one, as well as with my own insight that 2011 was the Year of the Trans Ladies. Janet McTeer made Albert Nobbs — she was the real heart and soul of this film, raised the whole thing to a higher level, and was ridiculously hot as a man, to boot. This film has received less love than it should have; yeah, it felt a little bit more like something that would have been profound in 1982 but in 2011 feels like yeah, already. Like Bichir in A Better Life, you don’t get more marginalized than trans persons. But honestly, I’ll be happy with any one of these choices. Even better: they should give three Oscars — to Spencer, McCarthy, and McTeer.
Meanwhile, the men’s category seems less competitive to me. Christopher Plummer will — and should — win Best Supporting Actor for his work in Beginners as the father who comes out as an 80-year-old. ‘Nuff said.
Best Picture and Director: In which I wrestle with my own “degree of difficulty” rule.
I’m rooting for two titles: The Artist and Tree of Life. The former is the film I’ll want to see again and again. It’s a crystalline, lovely piece of romantic comedy and melodrama; I found it especially sweet for the way it earnestly wants to teach viewers how to fall in love with classic cinema. I vote for The Artist to take Best Picture.
On the other hand, The Tree of Life attempted a much higher degree of difficulty; like a great diver or ice skater, it took wild risks and didn’t succeed all the time, but what it did accomplish was remarkable: a tale of childhood and early pubescence more real than any I can remember seeing onscreen. If notions like “degree of difficulty” mattered to the Academy, that’s the film that should win.
Best Screenplay, Original and Adapted: in which I root for the foreigners and commit fully to losing the pool.
The latter is just a beautiful film production — I can’t even imagine how hard it was to come up with a screenplay for this twisting novel that has already received a 7-part miniseries by the BBC in 1979. Starring Alec Guinness, no less. How do you get that down to a bankable 2 hours or so?
Don’t ask me, but Bridget O’Connor and Peter Straughan did it. Nailed it. (Bonus: an actual woman nominated for an Oscar behind the scenes!)
So if I’m so pro-lady, why am I not rooting for Wiig and Mumolo for Bridesmaids? Because A Separation is so spectacular that the former just seems slight in comparison. Also: Leila Hatami:
From all accounts, I’m going to lose on both scores; I’ve heard people guess that Midnight in Paris and The Descendants will take these categories. That’s too bad. The best I can say is that at least I’m prepared for disappointment.
Best Original Score: how can this go to anyone else?
Listen to this medley of nominations for Best Original Score and tell me if the one for The Artist doesn’t leap out as so memorable that it actually recalls specific scenes. Also: because I found the Kim Novak reaction to be absurd.
It’s not that the other scores aren’t nice and emotional; it’s just that the one for The Artist means more to the film. (Runner-up: Tinker Tailor Soldier Spy. I loved its 1970s derivative, jazzy ambivalence, just like the film. The one for Hugo was okay too, but like the rest of that film, it felt over-cooked to me.)
Best Cinematography and Film Editing:
Is it even possible for something other than The Tree of Life to win for Best Cinematography? I will throw an absolute fit if it doesn’t.
But in Film Editing, I’m more ambivalent. I think the truly Oscar-worthy editing jobs were overlooked in the nominations process — Martha Marcy May Marlene, Take Shelter, and Tinker Tailor Soldier Spy — so I’m left to wrangle with a disappointing list. Stuck between the rock of my frustration about how these nominations work, on the one hand, and the hard place of a group of films whose editing I didn’t notice as being tight and evocative, I choose The Girl With the Dragon Tattoo.
Like Tinker Tailor, it took the tightest of editing to shape an expansive story to cram this into a watchable 2-hour film; it also demanded cuts and segues that forwarded the tale, evoked emotions with absolute efficiency. A couple of months later and I want to see David Fincher’s Girl With the Dragon Tattoo again so I can pay even closer attention to what its editors, Kirk Baxter and Angus Wall, did to propel us through that story at such a clip.
There are other categories I’m not commenting on, obviously — a series of documentaries that are so lackluster in comparison to the ones that didn’t get nominated that I can barely breathe, categories I don’t really understand:
- Why does costume design only get applied to period pieces? As Dana Stevens of Slate put it last year, the clothes worn by Julianne Moore and Annette Bening in The Kids are All Right were so absolutely perfect; why isn’t that costume designer nominated for anything?
- What does “Art Direction” mean — does this mean, for lack of a better term, some kind of unholy combination of “Stage Design” and “Location Specialist”? Or does it mean something else?
- And while we’re on the subject: is there some kind of connection between Cinematographer and “Art Director”?
- Why are there different categories for “Sound Editing” and “Sound Mixing”? Why isn’t this all just “Sound Editing”? Do I sound like an idiot for asking this question?
- Why can’t I watch all the nominated short films on iTunes or some other service? (Here I go again with my complaints about access.)
Meanwhile, there’s the all-important issue of gowns. Please tell me that Leila Hatami will appear in something stunning, that Jessica Chastain wears something that shows off that strawberry hair, and that Janet McTeer wears a tuxedo.
Here’s hoping! and here’s hoping, too, that I don’t throw anything at the screen when Hugo wins everything in sight.
23 January 2012
I know what you’re thinking: at last! An unabashedly subjective set of awards given by an anonymous blogger to her favorite women on and off screen — as a protest against a sexist and male-dominated film industry! Awards that feature a statuette based on genuine Cycladic art of the early Bronze Age! And now handily divided into two parts for ease of reading!
The raves are pouring in, from humans and spam-bots alike: “I’ve waited months for this handy list, and I can hardly wait to visit my video store.”
“Could you choose a few more obscure films, already?”
“I take excellent pleasure in reading articles with quality content material. This write-up is 1 such writing that I can appreciate. Maintain up the excellent function. 560942.”
Yup, it’s La Jefita time here at Themyscira/Paradise Island, where our crack team of snarky feminist film fans has been scouring our many lists of favorite films and great scenes to boil it all down to a carefully-calibrated list of winners. (Winners: contact us to receive your awards, which you must receive in person.)
First, a few bookkeeping points: Our one rule is that no single person or film could win in two separate categories, although a winner can receive an honorable mention in a different category. (This is why we choose categories like Best Role for a Veteran Actress Who Is Not Helen Mirren or Meryl Streep, which will be awarded during Part 2). We are good small-d democrats here at Feminéma — “spread the love around” is our guiding raison d’être.
A related note: we at Feminéma want to express our distress at the contrast between, on the one hand, the omnipresence of blonde white girls like Jessica Chastain, Chloë Moretz, and Elle Fanning — they’re great and all, but they’re everywhere — and the virtual invisibility of people of color in top-notch film. It is a central aspect of our feminism that we call for greater diversity in casting, directing, writing, and producing overall. We can only hope that 2012’s Best Director nominees might have non-white faces as well as women among them.
Finally, you’ll remember that our Best Actress La Jefita prize has already been awarded to Joyce McKinney of Errol Morris’s Tabloid. In mentioning this again, we fully intend to list our Honorable Mentions as soon as we’ve seen two more films.
And now, on to what you’ve all been waiting for!
Feminéma’s Film of the Year (Which Also Happens to Be a Female-Oriented Film):
Poetry, by Lee Chang-dong (Korea). I wrote extensively about this immediately after seeing it, so here I’ll only add two comments. First, this film has stuck with me, poking at my conscious mind, in the intervening months in a way that some of the year’s “big” films did not. Second, this was a terrific year for film, especially “important” films like The Tree of Life and Take Shelter that deal with the biggest of themes (existence, forgiveness, apocalypse…). I will argue that, even alongside those audacious films, Poetry deals with even more relevant matters — responsibility — and that given the state of our world, this is the film we need right now. It’s ostensibly a more quiet film, but will shake you to the core.
Go out of your way to see Poetry. Let its leisurely pace and surprising plot turns wash over you, and the sense of mutual responsibility grow. It’s truly one of the best film I’ve seen in years — and if the members of these Awards committees bothered to see more films with subtitles and non-white faces it’d outpace The Tree of Life and The Artist in prizes.
Most Feminist Period Drama that Avoids Anachronism:
A tricky category — it’s so hard to get the balance right. After much hemming and hawing, and after composing many pro and con lists, we have determined that only Cary Joji Fukunaga’s Jane Eyre can be the winner. Mia Wasikowska’s perfect portrayal of Jane was matched by a beautiful script by Moira Buffini that carefully uses Brontë’s own language to tell a tale that underlines how much Jane wants not just true love, but a true equality with Rochester. (Add to that the fact that the film fassbendered me to a bubbling mass of goo, and we have the perfect feminist period drama.)
Mmmm. Muttonchop sideburns.
Honorable Mentions: La Princesse de Montpensier by Bertrand Tavernier and Cracks by Jordan Scott (yes, Ridley Scott’s daughter). Sadly, there’s a lot of anachronism out there: even if I stretched the category to include miniseries, I just couldn’t nominate Downton Abbey, The Hour, or South Riding because of their overly idealistic portrayals of women’s rights; while as historically spot-on as Mildred Pierce was, it’s no feminist tale.
I still haven’t seen The Mysteries of Lisbon but will make a note during Part II of the La Jefitas if it deserves a prize, too.
Sexiest Scene in which a Woman Eats Food (aka the Tom Jones Prize):
Another tricky category. Because I don’t know whether you’ve noticed, when you get a typical actress into a scene in which she’s expected to eat, she instantly reveals how little she likes/is allowed to eat food. Every single time I see such a scene, I become hyper aware of the fact that she’s looking at that food thinking, “This is the ninth take of this scene, and there are 50 calories per bite. That means I’ve eaten 450 calories in the last two hours.” Most don’t eat at all onscreen; all those scenes at dinner tables consist of no one putting food in their mouths. Thus, when I see an actress devouring food with gusto, I feel an instant sexual charge.
Thus, the best I can do is Sara Forestier from The Names of Love (Le nom des gens), a film in which her character, Bahia, wears her all her many passions on her sleeve, eating among others. When, that is, she’s wearing clothes at all. One might complain that Bahia is the Manic Pixie Dream Girl On Steroids — in fact, a central concept in the film is that she’s such a good leftist that she sleeps with conservative men to convert them away from their fascistic politics. (What can I say? it works for me; I was ready for a supremely fluffy French comedy.) Even if the manic pixie trope sets your teeth on edge, you’ll find yourself drawn to Forestier. The film won’t win any feminist prizes from me, but I quite enjoyed it nevertheless and would watch her again in anything.
(A brief pause to remember last year’s winner with a big sigh: Tilda Swinton in I Am Love. Now that was sexy eating.) Sadly, there are no honorable mentions for this prize. But I’m watching carefully as we begin a new year of film.
Most Realistic Portrayal of Teen Girls (also known as: Shameless Plug of a Little-Known Great Film That Needs a La Jefita Award):
Claire Sloma and Amanda Bauer in The Myth of the American Sleepover. There’s something a bit magical about this film, which I’ve already written about at length — a film that up-ends the typical teen dramedy and makes some lovely points that I wish had seemed possible for me back in high school. I loved this film for its frontloading of real teen girls and the real situations they get themselves into; I loved it for that weird combination of leisureliness and urgency that infused real summer nights in high school; and I loved it that it didn’t devolve into a pregnancy melodrama or a story about cliques. And just look at Sloma’s face; it makes me want to cry.
After seeing it, you’ll wonder whether you’ve ever seen a film that showed teen girls like this. And you’ll join my Sloma fan club.
Best uncelebrated supporting-supporting actress in a comic role:
Nina Arianda only has a few lines in Woody Allen’s Midnight in Paris as Carol, the insecure wife of Paul, the overbearing, pedantic professor (Michael Sheen), but she almost steals each one of those scenes. She struggles to please and to pronounce her French words properly. She fawns over Paul in a way that makes you realize quickly how futile it is — taking photos of him as he holds forth annoyingly, for example, in the scene below. I don’t know how many of you readers are also academics, but Sheen’s portrayal of that professor was hilariously, perfectly accurate — and Carol is just as recognizable a type, that younger woman who married her former professor a while back and is still trying to make it work. (Skin: crawls.)
Arianda also had nice, slightly larger parts in Win Win and Higher Ground, although nothing that let her express her gift for wit that she displayed in Midnight in Paris. Let’s hope that with these three 2011 films, Arianda is getting more attention — and that she’s got a good agent.
Most Depressingly Anti-Feminist Theme for Female-Oriented Film: Fairy Tales.
C’mon, people. I couldn’t bear to see Catherine Hardwicke’s vomit-inducing Red Riding Hood (highest rating on Feminéma’s Vomit-O-Meter® yet, and I only saw the trailer!). Nor did I see Julia Leigh’s poorly rated Sleeping Beauty, though I’m likely to see it sometime soon. I did see Catherine Breillat’s weak effort, The Sleeping Beauty — such a disappointment after I quite liked her Bluebeard (Le barbe bleue of 2009). I was also less impressed with Tangled than most critics.
I like fairy tales and think they offer all manner of feminist possibilities for retelling. (Why, I even tried to write one myself.) Problem is, they seem to offer anti-feminists just one more chance to trot out their enlightened sexism. Filmmakers have not yet realized that fairy tales have become a site for critique rather than retrograde confirmation of sexism. (Please, read Malinda Lo’s Huntress or A. S. Byatt’s The Djinn in the Nightingale’s Eye.)
And this is only Part 1 of the La Jefitas! Stay tuned for the final roster of winners and honorable mentions — in such categories as:
- 2011’s Most Feminist Film! (Such an important category that it might be divided into three categories for clarity, and because I’m having trouble choosing a single winner!)
- Most Realistic Dialogue that Women Might Actually Say, and Which Passes the Bechdel Test!
- Best Fight Scene in which a Woman Kicks a Man’s Ass!
- Best Veteran Actress who is not Helen Mirren or Meryl Streep!
- And Best Female-Directed Film! (This one is turning out to be a scorcher — can it be that I’ll divide this into separate categories, too?)
22 January 2012
Sometimes a girl just goes through a week in which none of her posts get finished. Also there was snow, which in this case was very teeny and powdery and sparkly and demanded my full attention as it fell. (There was also cross-country skiing.)
My long, increasingly unmanageable post, still unfinished, is on my La Jefita (the boss!) Awards in which I celebrate women on & off screen — and in the course of writing it has come to my attention that even all the fucking animals this year were gendered male. Not that this is a new thing. (Bambi was male. Bambi! Explain that to me!)
Now, I’m on record as saying that Caesar the chimp (Andy Serkis) should win Best Actor Oscar this year for Rise of the Planet of the Apes, and it’s a sign of how stupid the whole farce of the Academy Awards is that he won’t even be nominated. But let’s think back. All those apes, chimps, monkeys and gorillaz were gendered male. The one simian female was Caesar’s mother, who gets killed off immediately. The ones with names are all male — Maurice, Koba, Buck, Rocket. I’ll bet if you asked audiences, they’d say that they assumed all the rest are dudes, too — especially when they cross the Golden Gate Bridge en masse and overturn cars.
Here’s my radical suggestion: no one will care if you gender some of these animals female instead. Or if you leave their genders ambiguous.
Who’s going to care, for example, whether instead of naming the War Horse Joey, they called it Maggie or Star or Chestnut? I can guarantee that once the horse starts to do noble things, no one’s going to give a shit whether it’s male or female. The one thing I’ll give Tintin — a film I have completely forgotten, it was such a boring sausage-fest of dudes — was that at least the dog’s name was Snowy, even though we all know he was a dude. The most ambiguously ungendered animal onscreen last year was the annoying Paw Paw, the old, sick cat from Miranda July’s The Future. (We never even saw Paw Paw’s face.)
It wasn’t just Snowy: dogs were always male in 2011. There was the lovable Uggie in The Artist, Arthur in Beginners, Hummer in Young Adult, Willie Nelson in Our Idiot Brother. But it was also the ensemble pieces. The only animal in any of the Harry Potter films gendered as female was Hedwig the owl — the rest, Crookshanks, Firenze, Scabbers, Fawkes, even the evil snake Nagini — and anything in the Weasleys’ house, all male.
All male. Why? I don’t get it. What’s so difficult about having a phoenix or a cat be female? What’s so distasteful about having adorable pets that are female? I have two suggestions. First, maybe the concept of male dominance is so crucial to Hollywood that filmmakers cannot imagine having female pets, especially when they’re central to the script like Caesar or Joey the horse.
Or, second, maybe this is connected to the fact that virtually all these films have human male leads and the filmmakers have “reasoned” that men must have male pets/animal counterparts. But if this is the case, I need explanation: please explain to me why it would be problematic for Ewan McGregor’s character to have a female dog. Can it be that filmmakers find it unseemly, somehow sexually inappropriate? Have we sunk that low?
Okay, there are a few ensemble films with some token girls. The Muppets, Winnie the Pooh (but let’s be precise: Kanga is also just a mother to Roo), and even Alvin and the Chipmunks: Chipwrecked appears to have a girl. Don’t misunderstand me: I haven’t seen that film. What do you take me for?
The most radically gendered ensemble film I can see is Kung Fu Panda 2. That is, both Tigress and Viper are female. Out of about 12 male leads. See what happens when a woman directs a film, like Jennifer Yuh Nelson did in this case? It’s a comparative girl-fest!
Geena Davis started her Institute on Gender in Media because when she started to watch TV with her young daughter, she couldn’t miss the gender disparity. In family films there’s only “one female character for every three male characters. In group scenes, only 17% of the characters are female. The repetitive viewing patterns of children ensure that these negative stereotypes are ingrained and imprinted over and over,” the Institute’s website explains.
As Melissa Silverstein shows us again and again with her brilliant blog Women & Hollywood, children’s media is just the tip of the iceberg. Women appear far less often both on and off screen. Which makes me wonder why Hollywood couldn’t just throw us a bone with a few female pets.
Whichever way you lean — whether we think male dominance is so fundamental to Hollywood that all the animals must be male, or whether we think our male heroes cannot possibly have vital relationships with female animals — I hope you’ll agree with me that this is just really weird.
25 June 2011
Certainly one doesn’t need a particular organization of the planets to get into an existential mood, but it’s midsummer, and we here at Feminéma like to mark big seasonal events with some pondering. (Lord, what fools these mortals be!) And if there’s one thing film can help us do, it’s to ponder the big questions. My own star-gazing has been assisted this weekend with two big releases in my teeny home-away-from-home in Central Jersey: Mike Mills’ Beginners (you’ll remember how much I loved Thumbsucker, his first feature) and Terrence Malick’s The Tree of Life, which I’ll write about tomorrow if possible. Beginners may flirt with the twee — there are some incredibly cute montages of great dates between Ewan McGregor and Mélanie Laurent in which they rollerskate down a hotel’s hallways or hike in the Hollywood hills; but it’s no rom-com. It’s a serious, ultimately hopeful film with a perfect cast that keep you riveted in every scene.
The specific nexus of problems addressed by Oliver (McGregor) involves love, one’s parents, and death. In a series of vignettes ricocheting back and forth between Oliver’s present and his past, the film is oriented around Oliver’s reconsideration of his parents’ unhappy marriage, his father Hal (Christopher Plummer)’s announcement after his wife’s death that he’s gay, and Hal’s relationship with a lovely, gangly, and hopelessly transparent man named Andy (Goran Visnjic, whom I barely recognized in a floppy haircut and unflattering clothes). Most important, it treats Hal’s illness and death, during which Oliver cared for his father through some wholly realistic and intimate ups and downs. Don’t all of us wrestle with our parents’ relationships when we think about our own? That’s Oliver’s problem; his parents’ unhappiness haunts him such that he can’t keep a girlfriend.
Oliver works as a graphic artist, though he’s suffering some serious blocks following Hal’s death: it seems he cannot help but create a cartoon History of Sadness in panels rather than the cd-cover art he’s been assigned. (Ahem, Mr. Mills: please publish that History, as I found it delightfully perverse.) The art is a neat mirror onto his thoughts. He often says things to himself, which I appreciate: the act of list-making as a bulwark against interior chaos. When he says to himself, “Sex. Life. Healing. Nature. Magic,” he’s reprising something he hears from the beautiful Anna (Laurent), whom he meets-cute at a costume party: “People like us, half of them believe things will never work out. The other half believe in magic.” She says it in a way that reveals more than a little disdain for that latter group; she and Oliver are, decidedly, members of the former who — despite themselves — long, desperately, for magic.
Is it his nature or the specific circumstances of mourning his father that makes Oliver so skittish about relationships? At first it appears that he has simply rejected the kind of marriage his parents endured: not loveless but perpetually dissatisfied, a quality he perceived in them even as a child. (His childhood closeness to his eccentric mother [Mary Page Keller] is displayed beautifully; I wished there had been more.) But the more we plumb his depths, the more we see that he’s managed to repeat his parents’ relationship mistakes, even if he’s avoided a marriage that looks like their relationship on the surface.
In fact, Oliver seems to wonder whether Hal’s late-in-life embrace of his sexual orientation, as well as his eagerness to engage with gay rights movements and communities, indicates that he possessed a capacity for self-understanding that still evades Oliver. In teeny, tiny moments — when the two men bicker over whether “everyone” knows that a rainbow flag indicates gay rights, or whether Hal should tell his lover Andy about the cancer — we see that there are no clear answers to Oliver’s soul-searching and his attempts to understand his father.
Walking out of the theater, my partner nailed it best: as he put it, Beginners is a film that might have failed in someone else’s hands. But between Mills’ gentle and serious vision, a terrific editing job, and the perfect and subtle acting of every single member of the cast — and here let me beg the heavens: please let me go through my next existential crisis in bed with Mélanie Laurent and Ewan McGregor — the film balances light and dark, whimsical and heartbreaking, and the interaction between repression and self-revelation. It’s elegantly done. Even the scenes with the needy little Jack Russell terrier, which could have plummeted into the depths of hopeless cuteness, always appealed to me as just delightful enough without a sugar rush.
I didn’t love it as much as I loved Thumbsucker, I think because I found the sets and locations distractingly posh. It’s almost Woody Allen-like — the extraordinarily well-appointed Los Angeles hillside homes, the great art on the walls, the way that Laurent’s hair is always so perfectly unbrushed. In contrast, I found the Oregon drabness of Thumbsucker and its subtle family resemblances between the actors Tilda Swinton and Lou Pucci so exquisitely wrought, right down to their hopeful, needy unloveliness; I longed, in this film, for a bit more of that realism rather than a rarefied LA world.
But oh, what Mike Mills can do with great actors — and oh, his gift for getting them into his films! Beginners is compelling in every scene due to McGregor’s and Plummer’s acting, their handsomeness, their appreciation for their lovers. If this film answers its questions with “the eternal Yes” of love, as Mr. Emerson puts it in Room with a View (1985), it doesn’t do so cheaply, or easily. See it, and enjoy your midsummer questions about life and existence — till anon, when I think on the screen about Tree of Life.