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.

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Feminéma's new La Jefita statuette for those women bosses of film

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?)

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!

Mija lives with contradiction. So do I, and so do you, of course, but in Lee Chang-dong’s Poetry, it seems so stark. This 66-yr-old grandmother (played by beloved Korean actor Yoon Jeong-hee) has an almost whimsical lightness, as when she announces she’s going to take a poetry class at the cultural center. “I do have a poet’s vein,” she says. “I do like flowers and say odd things.” Yet her life also looks pretty bleak from our perspective, from the grim apartment she shares with her sullen teenaged grandson (Lee Da-wit) to her part-time job working as a maid and caregiver for an old man who seems to have suffered a stroke. This movie is a small masterpiece that reminds me of exactly why I watch film: to find unexpectedly searching, overwhelming films that haunt me for days afterward.

Poetry is such a perfect central conceit for the film, for the class sends Mija into an eager new determination to see the world with fresh eyes. When her teacher explains, “Up till now, you haven’t seen an apple for real,” she gazes up at him with naïve awe. “To really know what an apple is, to be interested in it, to understand it,” he explains, “that is really seeing it.” This is exactly Mija’s view of poetry: lovely words about lovely things. But as she struggles to complete her sole assignment for the class — to write a single poem — her world begins to change, and she finds herself forced to see the ugliest things.

Mija may seem a bit foggy-headed in her innocent cheeriness, but we realize soon enough that everyone around her works is even more expert at overlooking their own pain as well as the tragedies of others. When she learns that she has the early stages of Alzheimer’s, she won’t tell her daughter, who lives in another city and seems to have very little to do with her son Wook. Instead, Mija cheerfully explains on the phone that the doctor told her to write more poetry, and then proceeds to boast a little about how close she is to her daughter, what good friends they are. But when she does broach something more serious — the fact that Wook is driving up her electricity bills to unmanageable levels — her daughter seems to brush over and ignore Mija’s precarious financial situation. Mija’s almost comical attempts to sing away her worries at a karaoke bar or gaze into the soul of a tree or a piece of fallen fruit in search of poetic inspiration appears, after all, to be perfectly in keeping with the head-in-the-sand approach to life taken by all around her.

There is one thing that cracks her surface dottiness: learning that not only is her grandson Wook a typically self-centered teenage douchebag, but he’s also a member of a group of boys responsible for a shocking series of crimes. It’s so shocking, in fact, that Mija’s first response is to repress the information — and you realize by the end of the film that we viewers, too, are weirdly eager to repress it. It’s the most eerie bit of finger-pointing I’ve ever seen a film achieve. The other boys’ fathers invite Mija to a cafe to discuss the problem — and by problem they mean how to bribe the victim’s family so they will not bring in the police to prosecute the boys. These men insist they feel bad about the crimes, but “now’s the time for us to worry about our own boys” — the boys’ futures must be secured. Mija wanders outside in a daze, crouches near a lovely flower, and takes out her notebook to jot down some poetical notes. Yet despite her instincts to repress the information, now when she sees red flowers, she can’t help but take notes about blood and pain.

It’s extraordinary, this film. It’s sending me on a quest to locate all of Lee’s previous films — not an easy task, as it turns out — and confirms my uneducated view that South Korea is one of the very few most creative cinemas in the world right now. It’s also one of the few that regularly features retirement-age women in phenomenally complex and rich parts — witness last year’s Mother, which should have earned its star a best-actress Oscar. There’s also a feminist vision at the center of this film that I can’t delve into without spoiling crucial parts of the plot; and I can’t help but see a potent political fable in Poetry, one that worries about society’s future in a way that is both transfixing and, ultimately, transcendent. Please see this film, and then tell me how much its elements come to you in dreams and visions. For it has most certainly haunted me in a way no thriller or horror film can.