The coveted La Jefita statuette, based on genuine Bronze-age Cycladic art!

It’s about time, eh? Alert readers know that after posting Part 1 of these awards — awards dedicated to those women bosses of 2011 films — I got mired in a snit about the fact that I couldn’t get access to a couple of major films that were contenders for awards. Problem solved: if I couldn’t see your film, it’s been pushed into 2012 contention.

Too bad for those filmmakers, because look at the gorgeousness of these statuettes!

Just to bring you up to date, the first round of La Jefita statuettes went to a number of terrific films everyone can see:

  • Film of the year (and female-oriented!): Lee Chang-dong’s Poetry
  • Best actress: Joyce McKinney in Tabloid
  • Most feminist period drama that avoids anachronism: Cary Joji Fukunaga’s Jane Eyre
  • Sexiest scene in which a woman eats food: Sara Forestier in The Names of Love (Le nom des gens)
  • Most realistic portrayal of teen girls: Amanda Bauer and Claire Sloma in The Myth of the American Sleepover
  • Best uncelebrated supporting-supporting actress: Nina Arianda in Midnight in Paris
  • Most depressingly anti-feminist theme in female-oriented film: Fairy Tales

Be sure to check out the full post to find out more about honorable mentions, reasons for establishing these categories, and gorgeous images from the films.

Check it out, that is, when you’re DONE reading the following. Because these awards are specially designed for the discerning, frustrated viewer who just wants to see more lady action onscreen — lady action, that is, in all its beautiful and interesting and nubbly diversity.

And now on to the last round of 2011 winners!

Most Feminist Film:

Vera Farmiga’s Higher Ground. I was so impressed and touched by this film about a woman’s life as a Christian that I’m still vexed I didn’t take the time to write about it extensively. Farmiga isn’t a showy director, letting instead the story take center stage. She stars as Corinne, a young woman whose faith grows stronger as she and her husband build their family and become part of a hippie-ish community of strong Christians during the 1970s and 80s, including the earthy Annika (Dagmara Dominczyk, below) with whom Corinne has a rich and happy friendship. For many of these years, her faith gives her a deep sense of self and identity.

What makes this the most feminist film of the year is not just its portrayal of how Corinne’s faith infuses everything about her life and enriches her friendships, but how hard it is when she begins to lose that faith and her previous closeness to God. Instead, she begins to notice all the inequities in her life — the minister’s wife who wants to correct her behavior or dress; her husband’s insistence on wifely submission; her lack of other things that might fill the gap left by God and give her life meaning; the emptiness of her community’s anodyne promises of glory in exchange for obedience. At last: a film about Christianity that can be feminist, too.

Honorable mentions: of course David Fincher’s Girl With the Dragon Tattoo, despite some misgivings about teensy plot points (see here for my extended conversation about the film with blogger JustMeMike) and Maryam Kashavarz’s Circumstance.

Best Female-Directed Film: A tie! 

Our winners are Clio Barnard’s The Arbor and Claire Denis’ White Material, two films that have haunted my dreams ever since seeing them.

The Arbor by Clio Barnard, is the extraordinary story of British playwright Andrea Dunbar. Dunbar grew up in a miserable housing estate/project in West Yorkshire, and somehow developed an uncanny gift for taking her family’s and neighbors’ conversations and transforming them into a comment on family dysfunction, racism, and poverty. At the age of 15 she won a playwriting contest for her play The Arbor (written by hand, in green ink, as the director remembers), a play so impressive it was performed at London’s Royal Court Theatre and later in New York. After writing two more plays and producing a film, and bearing three children by three different men, she died at age 29 after a young adulthood she dedicated to alcohol in the same way her father had before her.

This film uses Dunbar’s own method: Barnard has actors re-enact parts of The Arbor and, even more effectively and intimately, lip-sync recorded interviews with Dunbar’s family, especially her damaged, mixed-race daughter Lorraine. In the end The Arbor is exactly the right film about Dunbar’s life, using her gifts and her legacy, both the good and the very, very bad. No manual on mothering, this; it’s grim but clear-eyed in its portraits of the long shadow of addiction and bad choices to the poor. It’s remarkable — no matter how little you feel like watching a grueling tale like I’ve described, you’ll be amazed and impressed with Barnard’s terrific film. It’s not often you see theater transferred to film so gorgeously.

I wasn’t sure at first what to make of Claire Denis’ White Material (another film JustMeMike and I discussed at length) but after that long conversation and in the intervening months the memory of it has gotten into my central nervous system in the same way The Arbor did — to the point that I put all the rest of Denis’ films on my to-see list. I won’t go into detail again about the film, since you can read our two-part analysis; but just keep in mind how much it grows on you over time.

Honorable Mention: In a Better World by Suzanne Bier. I also want to give a shout-out to two first-time directors, by Dee Rees (for Pariah) and Maryam Keshavarz (for Circumstance), both of whom we’ll be seeing more from — I hope — in the years to come.

Best Role for a Veteran Actress Who Is Not Helen Mirren or Meryl Streep: A tie!

Catherine Deneuve in Potiche and Glenn Close in Albert Nobbs.

Potiche means “trophy wife” and that’s what Deneuve is in this campy comedy set in a provincial factory town during the 1970s. Her husband is a boor of a factory owner whose philandering and health problems combine to get him into the hospital for a stretch, at which point Deneuve takes over the umbrella factory, charms an old one-night stand (Gérard Depardieu), and  fixes everything. It’s not the best film I’ve ever seen, but Deneuve is a delight.

It’s harder to watch Glenn Close as Albert Nobbs, a cross-dressing woman in the late 19th century who has risen to the position of head butler in an Irish hotel. Nobbs’ prevailing motivation is to be emotionally closed off enough to keep his secret and amass enough money to establish a little shop of his own. But when he meets another trans man, Hubert Page (Janet McTeer, whom I’d marry this minute), Nobbs begins to imagine that he needn’t be so lonely.

Albert Nobbs received mixed reviews — unfairly, I think, for I found this film moving and believable and quite radical, despite Nobbs’ limited emotional range. Close is terrific and McTeer should win oodles of prizes for her portrayal of Page. (Tell you what, Janet: you win a La Jefita! Just get in touch, come join me in western Massachusetts, and I’ll present your statuette in person — and in the meantime I’ll figure out what category it is!)

Let me repeat that after reading about Vanessa Redgrave in Coriolanus (thanks again, Tam) I’m quite certain that this particular prize was Redgrave’s to lose. Too bad the film never made it within 120 miles of me. Vanessa, you’ll have to wait till next year.

Honorable mentions: Isabelle Huppert in White Material and Yun Jeong-hie in Poetry. (Let’s also pause to remember last year’s winner: Another Korean actress, Kim Hye-ja from the amazing film Mother [Madeo]. What a terrific acting job that was.)

Best Fight Scene in which a Woman Kicks a Man’s Ass:

If you’re looking for the sheer gorgeousness of male ass-kicking, go for Gina Carano in Haywire. It was a tricky choice. But the scene I remember as being so memorable was in Hanna, when our weirdly angelic fairy tale princess (Saoirse Ronan) finds herself on a date with a boy, thanks to her new teenage friend Sophie (Jessica Barden, who’s fantastic). Listening to some flamenco guitar music and sitting in front of a flickering fire, Hanna sits next to this boy while Sophie makes out with one of her own until eventually the boy decides the time is right to make a move. We’ve seen this a million times in film — and considering that Hanna has enjoyed all manner of other awakenings with Sophie, we fully expect some kind of never-been-kissed magical scenario here.

Except Hanna has no never-been-kissed set of tropes to work from, like the rest of us did in that situation. So she takes him down. It was one of those movie moments when I was completely surprised and totally delighted by the unexpected shift in a story — thus, even though Hanna was far more impressive in other fights during the film, and even though Gina Carano is an MME goddess, this scene won my heart. Congratulations, Ronan!

Best Breakthrough Performance by an Unknown Actress:

Adepero Oduye in Pariah. You’d never guess that Oduye is actually 33 years old, because in every way she inhabits the awkward, embarrassed, itchy skin of a 17-year-old in this beautiful film. My only complaint about this film was its title, as it’s a weirdly hysterical and misleading concept for this subtle film. Alike, or Lee as she prefers (Oduye) isn’t a pariah at all — she actually has a surprising degree of interior strength as well as outside support. She’s an A student with an unholy gift for poetry and has a growing group of gay friends who, like she, identify as masculine. So even though she has to hide her butch clothes from her mother (Kim Wayans), she has already gone far toward exploring and appearing as mannish and openly lesbian.

That’s not to say it’s easy. Her mother is quietly furious about it (and about other stuff, too), and still insists on buying Lee those awful pink/purple sweaters that mothers buy even when they should know better. (Ah, flashbacks to my teenage years, when my mom bought my tomboy sister shirts with Peter Pan collars to the point that it became a family joke.) But by the time Lee knows she needs to leave this world — and that she needs to choose, not run — we just feel overwhelmed by the self-possession, the determination, of this new human. I can hardly wait to see more of Oduye.

Best Breakthrough Performance by an Actress Known for Other Stuff:

Kim Wayans in Pariah. I watched every single episode of In Living Color (1990-94) back in the days when the Wayans family ruled comedy, but I had no idea Kim could push herself to such an explosive, angry performance. In Pariah she’s Audrey, the mother of a 17-year-old struggling to come out (and to be herself); but Audrey is also a miserable wife, made even more unhappy by her class pretensions and a scary penchant for isolating herself from others. She’s almost as upset by the class status of her daughter’s “undesirable,” dish-washing friend Laura as she worries that Laura’s obvious dyke identity is leading Alike (Adepero Oduye) to a lesbian life. But there’s a scene at the hospital, where Audrey works, during which her fellow nurses give her dirty looks and avoid speaking to her — and we know that she has dug herself a very deep well of unhappiness she’ll never get out of.

Wayans is more impressive than both Jessica Chastain in The Help and Bérénice Bejo in The Artist, and should have received a Supporting Actress nomination. Oh, I forgot: The Help was Hollywood’s token Black movie this year; how presumptuous of me to think they might have a second! Much less a black and gay film!

Most Realistic Dialogue that Women Might Actually Say and Which Passes the Bechdel Test:

Martha Marcy May Marlene. I feel a teensy bit wicked in pronouncing this my winner, because the film insists on Martha (Elizabeth Olsen, left below) being a cypher, especially to her sister Lucy (Sarah Paulson, right). Martha has escaped from a cult in upstate New York, and her experience there was so life-altering, so all-encompassing, that she cannot say very much at all that doesn’t sound as if it comes straight from the charismatic mouth of cult leader Patrick (John Hawkes). Lucy is mystified by her strange behavior and her strange utterances. “I wish you’d feel more comfortable talking to me,” Lucy says. “I do!” Martha responds. Except, when you get down to it, for Lucy “there’s nothing to talk about.” Their exchanges are almost as creepy as those with Patrick.

I have a lot of complaints about this year’s Oscar ballot (who doesn’t?) but I truly think it’s a crime that Martha was overlooked for two major categories — film editing and original screenplay — that highlight how tightly the dialogue strings together Martha’s past and present. When she angrily tells Lucy “I am a teacher, and a leader!” and the film cuts back to a past day when Patrick pronounced that very identity for her, and we see how much she absorbed into her soul every word from his mouth, just as she accepted being renamed Marcy May. It’s an amazing piece of writing and editing.

Most Surprisingly Radical Trend in Independent Filmmaking: Trans/Queer Cinema featuring female stars.

This has been an amazing year for films featuring female-oriented stories about trans or queer individuals. There was a point about 30 minutes into Albert Nobbs when I realized the director had created possibly the queerest movie I’d ever seen. It’s not just that Glenn Close and Janet McTeer were women disguised as men; every single relationship appeared queer in some way, from the feminine beauty of Joe (Aaron Johnson) to the 60-something hotel owner’s lascivious flirtations with men to the perverse Viscount Yarrell (Jonathan Rhys Meyers, a feminine man if I ever saw one) and his queer troupe of hangers-on. Given that culture, McTeer’s portrayal of Hubert Page (below) seems pretty straightforwardly masculine. (Oh, also: Janet gives us a gander at her magnificent 50-yr-old breasts with the same straightforwardness. I’m prepared to become a stalker now.)

The best thing about the film is its relative subtlety. When Albert fantasizes about finding a love of his own, he doesn’t want to cease dressing as a man or take a man as a lover. He identifies so absolutely as a man that he indulges in dreams of the little hotel maid Helen (Mia Wasikowska) sitting by his fire and darning his socks — oddly retrograde fantasies, considering that Helen’s not going to be anyone’s little wifey, but queer ones nevertheless. But the film takes its audience so seriously that it doesn’t feel the need to explain. Neither does Pariah need to explain why Lee is both gay and masculine-appearing, or why she wants to wear a strap-on dildo to the lesbian bar. These films let us do that work on our own.

And then there’s Tomboy, Céline Sciamma’s film about a girl passing as a boy during her summer vacation in a place far from home, where she can claim to be Mikael, not Laure. What all these films amount to is a sneaking new attention to — and filmic acceptance of — the experiences of queer and trans individuals, which feels especially radical to me because otherwise our culture is willing to acknowledge the LG but not the BTQ.

So there you have it, friends — my La Jefitas for 2011! Be sure to send along thoughts, criticisms, and of course your ideas about where the La Jefitas should go for 2012. I don’t know about you, but I’m watching the theaters carefully.

Advertisements

Perhaps you’re thinking, “where the hell is Part II of the La Jefita awards? What kind of an anonymous blogger gets me all excited about seeing a list of top films by and about women, then doesn’t tell me which one wins for Most Feminist Film?” Well, you’re not the only one who wants to rant.

I wanted to consider several 2011 films for these awards, most notably Lynne Ramsay’s We Need to Talk About Kevin (Tilda Swinton, I love you) and Ralph Fiennes’ Coriolanus (so I can see Vanessa Redgrave kick the shit out of the mother stereotype), but the fact is, I can’t see them. I waited and waited, and checked showtimes everywhere within approximately 120 miles. Even if I drove all the way to Boston I couldn’t see them, because they’re not playing there, either. I don’t know what kind of moron is running those distribution companies, but if you can’t get your award-worthy film into a major American city like Boston by mid-February, you’re fucking useless.

Ahh, that feels better.

Now that I’ve ranted, and now that I’ve come to grips with the fact that I’ll have to put these films into my 2012 category (argh!), I’m prepared to re-jigger my finalists and finish this post — once I get the chance to see whether Gina Carano’s ass-kicking in Haywire is superior to The Girl With the Dragon Tattoo‘s or Hanna‘s. So, friends, you can be sure to catch this post by the weekend.

The forthcoming Feminéma La Jefita statuette, based on genuine Cycladic art!

Here’s the thing about Best-of-the-Year lists: people like me haven’t seen half the motherfucken films because we live in Regular America, where they dribble great indie films out to us as if they’re rare commodities that only goddamn Newyoricans and Angelenos get to see.

This is too bad, because I’ve just invented the soon-to-be-coveted La Jefita statuette, to be awarded sparingly and only in person by me to artists of my choosing.

When I finally get a crack at these films of which I have heard so much good stuff, I have a big plan for categories of:

  • Best Feminist Film (will it be Girl With the Dragon Tattoo??)
  • Best Female-Directed Film (once I get the chance to see We Need to Talk About Kevin and Pariah, dammit)
  • Best Female-Oriented Film (will it be Poetry?? or will Hanna or The Lady edge it out? is it even possible I could see Kenneth Lonergan’s Margaret??)

In my heart of hearts, I’d also like to add far more idiosyncratic categories like:

  • Most Feminist Period Drama That Avoids Anachronism
  • Sexiest Scene in Which a Woman Eats Food
  • Best Fight Scene in Which A Woman Kicks a Man’s Ass
  • Most Realistic Dialogue That Women Might Actually Say
  • Best Role for a Veteran Actress Who Is Not Helen Mirren or Meryl Streep

Stay tuned on that one. I have to gird myself for controversy.

Only one award is ready to be given: BEST ACTRESS! Because no other performance by an actress can possibly beat out Joyce McKinney — as herself — in Errol Morris’s Tabloid.

She’s amazing! Is she BAT-SHIT CRAZY or BARKING MAD, the way one tabloid journalist portrays her? or a hopeless romantic, which is how she describes herself (and how she seems to have lived her life)? Does she really have a genius-level IQ? What really happened in that cottage in Devon in 1977? And who’s been threatening bloggers like me with lawsuits ever since the documentary was released?

Joyce McKinney is riveting, beautiful, clever, and unforgettable. I don’t care if it was a documentary: McKinney is playing the part of McKinney, and she’s doing it brilliantly.

Congratulations, Joyce — you are the first-ever winner of Feminéma’s marble La Jefita statuette!

We learn early on in Joe Wright’s Hanna that the girl’s father removed her at a young age to the remotest, winteryest part of Finland to have her grow up learning combat and survival techniques. One day as she’s walking through the woods, a low-flying plane crosses over her, and she raises her face to watch it. Then she shrieks — an otherworldly screech that’s so unexpected we’re not quite sure how to read it. Is it childish joy, fear, or some emotion unique to a fractured fairy-tale princess like Hanna?

This is a great action movie. It’s jaw-dropping, funny and weird, and full of terrific characters — when I say that Cate Blanchett is the weakest link I mean no insult to her but high compliments to the entire cast. Best of all is Saoirse Ronan, who inhabits the part with such sureness and eerie emotional range that we never doubt for a moment that she is exactly what she’s supposed to be: a teenaged girl capable of taking out entire regiments of bad guys, yet possessed of an innocence entirely appropriate to a fairy-tale Cinderella. Ronan has the slightest build (is she 12? 16? 18? it could be any of those) yet when she drags a 200-lb reindeer through the snow or races across a Berlin landscape, you feel absolutely that she’s capable of anything. What makes this a great movie is the cross-pollination between action and fairy tale. Unobtrusively, the movie intersperses its action sequences with moments that evoke ancient tales — the girl who needs to return to her father, the evil stepmother (Blanchett, of course), the girl’s first date with a boy — only to blow up the outcomes into odd, spiraling new narratives.

Here’s the thing about fairy tales: in general, characters often seem driven by the internal logic of the tale to behave in ways that seem preordained. Stepmothers are wicked. Children are easy targets for bad guys, or they get themselves into binds due to their innocence. Heroines either succeed or they fail. Scorpions must sting — it’s their nature. But what if the heroine decides to take herself out of those equations? Like the Eldest Princess in A. S. Byatt’s terrific The Djinn in the Nightengale’s Eye, is it possible to change the story, or is she hopelessly caught in it?

Dropping someone like Hanna into the real world has unexpected twists and turns. First of all, most bad guys don’t look like Isaacs (Tom Hollander, above). When he’s recruited by Blanchett, he’s helping to run some kind of pervert’s wonderland of a nightclub; with his big eyes, unformed baby face, small stature, and penchant for track suits in Easter-egg colors, he seems infinitely more sinister than the white-power type henchmen he hires. Especially when he tries to hunt Hanna down while whistling a little tune: he’s terrifying.

Second, no fairy-tale princess ever had a friend like Sophie (Jessica Barden). Sophie is an English version of a Valley Girl — fast-talking, smart yet dingy, utterly consumed by pop culture. She can be disgusted by her hippie parents’ unconventionality, but not so much that she doesn’t join in when they all sing songs together as their camper motors down the highway. Barden steals nearly every scene she’s in and, as Hanna gazes at her with wonder, we follow her lead. The contrast of the two girls is such a simple and brilliant plot element that I can’t imagine why we don’t see this more often. (I could also mention the Chemical Brothers’ terrific soundtrack, which I want to hear again in its entirety.)

 So what does all of this amount to? I’m not going to make any claims about Hanna being something more than a great action movie with a terrific female lead, a movie made all the better for its twisted take on the fairy tale. By the time she gets to an abandoned amusement park outside Berlin and walks into a strange little house, the fairy tale seems to have barrelled toward an inevitable conflict (and what a strange little house it is: all the better to trap her). If the movie is grasping at a larger point — about parenthood, feminism, or corrupt governments, for example — I didn’t see it; in fact, it was somewhat refreshing to watch an action film that strives only to be a great action film. Watch it in that spirit.