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?)
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Is it feminist or not?

17 March 2011

In my professional life I happen to be writing about the question of political expediency, and it’s affecting the way I think about feminism and pop culture. To wit: I’ve become concerned that when feminists debate publicly whether something is feminist, it leads antifeminists to hold up a banner saying WHO OWNS FEMINISM?, as if us feminists are angrily policing some kind of fortress. I strongly believe that feminism is not such a plastic word that it can encompass both Audre Lorde and Sarah Palin; but here’s my question: for the sake of political expedience, should feminists restrict their public battles to decrying anti-feminism, rather than parsing what counts as feminist?

I got off on this question after watching Anita Sarkeesian’s most recent Feminist Frequency video (if any of you are unaware of her terrific pop culture analysis, give yourself a treat and get up to speed NOW) about whether the character of Mattie Ross (Hailee Steinfeld, right) from True Grit is a feminist character. In doing so, Sarkeesian responds to a number of mainstream articles claiming that Ross is feminist; she maintains “it’s a bit of a leap” to make such a designation. She advances two key reasons for disagreeing: 1) Mattie’s character doesn’t change but remains “basically the same person from the first scene to the closing credits,” and 2) Mattie’s strength, independence, and grit are all coded as male; that is, she’s accepted the rules of a male-dominated society and plays along. In contrast, Sarkeesian says,

“The feminism I subscribe to and work for involves more then women and our fictional representations simply acting like men or unquestioningly replicating archetypal male values such being emotionally inexpressive, the need for domination and competition, and the using violence as a form of conflict resolution.”

Oh, the mixed feelings. On one level I agree with Sarkeesian on all counts: it’s one thing to say it is a feminist act to place an interesting, complex female character at the center of a film and watch the events through her eyes and a far different thing to call Mattie Ross a feminist. One might even go so far as to say that the question of her feminism is irrelevant to the film, the era it describes, and the range of emotions it covers. Melissa Silverstein at Women & Hollywood has a neat way of drawing a line between feminist movies (with female leads as well as narratives that seem to promote women’s equality) and movies that she’s “not so sure they are feminist but they are about women.”

It’s great to hold high standards, but have you noticed that most female characters onscreen aren’t just one-dimensional but so stereotypical that I want to hurt someone? Is it really important to dicker about whether Mattie Ross (or Uma Thurman in Kill Billor Katee Sackhoff in Battlestar Galactica, or Chloë Moretz in Kick-Ass) is a feminist? Wouldn’t it be better to complain about all those rom-coms oriented around weddings and bridesmaids — or, for that matter, Slate.com’s consistently contrarian rejections of all feminist issues? Katee, hand me that gun so I can blast some holes in Hollywood execs’ heads!

I “hear” myself write that paragraph and laugh, because as an academic I spend a lot of time on far more esoteric questions no one gives a shit about. And, frankly, I’d love to engage in a debate about the relative feminism of these characters — these discussions are fun. So why do I suddenly care about political expendiency such that I’m willing to argue we keep those arguments amongst ourselves?

Because the battle to define feminism is ultimately not just a distraction but a zero-sum game, and I’d rather leave those definitions open enough that we feminists can stay focused on denouncing anti-feminism. I would rather see writers at Slate spending their time analyzing the deeply misogynistic notions that women need to have 24-hour waiting periods and detailed explanations of sonograms before being permitted to get their legal right to an abortion — rather than read some idiotic essay about how the Tea Party is feminist simply because it has a lot of women in it. Look: women can be just as effective anti-feminists as men can be. (WHERE is that gun? Chloë?)

And because Chloë Moretz was the best part of Kick-Ass, and likewise Katee Sackhoff was one of the best parts of Battlestar Galactica. I’m not sure it’s a rejection of feminist values when films depict worlds in which not all women exhibit the characteristics of cooperation, empathy, compassion, and nonviolence. I think it helps us all question whether there’s anything necessarily male about being violent, emotionally inexpressive, dominating, and competitive (can I introduce you to some of my female colleages?). More important, such characterizations offer opportunities to explore complex expressions of gender identities. Don’t get me wrong: I don’t want to see just a bunch of gun-totin’ women in film (for gods’ sake, I live in Texas already). Besides, wasn’t True Grit just a great story with a great female lead? 

What do you think: is it useful to have these public discussions about whether something’s feminist or not, or it is more politically expedient to avoid having them publicly?