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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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.