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Women Rocking Hollywood SDCC 2017 panel with Cinema Siren ROCKED HARD!


Women Rocking Hollywood 2017 was Victoria MahoneyAurora GuerreroTina MabryRosemary RodriguezAngela RobinsonGina Prince-Bythewood, and Kirsten Schaffer. All Hollywood Powerhouses!  Such graciousness and talent. It’s incredible to me that at SDCC, in an environment full of famous people and A-listers, I would not trade for anyone within a 5 mile radius, the female directors I spent a day with and featured on the 2nd annual panel of Women Rocking Hollywood. I also can’t imagine most male directors working today being so complimentary and supportive of each other.  In fact, Victoria Mahoney said “When one of us rises, we all rise.”  That sentiment was reaffirmed and embodied repeatedly by all the panelists.  It was an honor to highlight their work and the importance of changing the status quo in Hollywood.

If we have more talented women being hired across all the genres of film and television, we will get more diverse art on screens both large and small.

We had a full house, in fact, we had many people outside who couldn’t get in to the panel.  We hope to have a larger room next year, and will also be posting the panel on YouTube and Amazon for those who want to hear the inspiring, positive, and very articulate commentary from these women.

Women Rocking Hollywood was covered by some great outlets both before and after the convention.

The point of this panel and why I wanted to have it at San Diego Comic-Con, the mecca of all things pop culture, is that SDCC is for the fans. It gets fans of all genres and all subjects excited about what’s coming, celebrates what they love, and allows contact with the filmmakers and stars they love.  I believe fans can and will have a huge impact on moving us toward a 50/50 balance of women directors, writers, and artists below the line.  Fans can force Hollywood and the extended film industry to consider the Bechtel Test and how women are represented. They can do it by voting with they pocketbooks and by word of mouth.  SO…follow these women on twitter, see their shows, (like Queen Sugar, which has ALL female directors), support Women in Film:LA, which is doing amazing work towards changing the industry, go out to see new movies created by women at the theater, and promote their projects.  For myself, I take it far enough that I don’t see movies without female representation in the crew, unless the film offers some other aspect of diversity, although interestingly, diversity and acceptance/hiring of women for the crew often goes hand in hand (but not always)…

DO I SOUND LIKE A BROKEN RECORD? Well, something more important is broken, and we have to fix it. We can do it together.  We don’t have to support crappy untalented directors, either.  Every woman on my panel is exceptional and is well-regarded by critics and film academics, and that is just a small sample of the great talent out there.

Here was the panel description:

Women Rocking HollywoodWomen Directors Changing the Face of Film and Television Wonder Woman broke all records in Hollywood for a film helmed by a female directors.  Now What? While there’s still a long way to go to equal the number of women behind the camera with women, who make up 51% of the population, shows like Jessica Jones, Queen Sugar, and The Leftovers are making a huge difference by committing to the inclusion of female directors. This 2nd annual panel at SDCC focuses on the incredibly talented, successful women expanding opportunities for women in film who have made noise and winning awards with their work on both the big and small screens. Scheduled to appear: Kirsten Schaffer (exec director, Women in Film: LA) Tina Mabry (writer/producer/director: Queen of the South, director: Dear White People) Rosemary Rodriguez (writer/director: Silver Skies, director: Jessica Jones, The Walking Dead) Victoria Mahoney (director: Queen Sugar, Gypsy, American Crime) Aurora Guerrero (writer/director: Mosquita y Mari, director: Queen Sugar) Angela Robinson (writer/director: Professor Marston and the Wonder Women, True Blood) and Gina Prince-Bythewood (writer/director: Love & Basketball, Beyond the Lights), the first woman of color hired to helm a superhero film for the upcoming Silver & Black.. Moderated by Leslie Combemale (Cinema Siren)

Here are some of the great articles written about it:


SDCC Unofficial Blog “Spotlight on Behind-the-Scenes panels”

Nerdist “Guide to Best San Diego Comic-Con Panels”

LA Times “Must-see Panels at SDCC”

Huffington Post “Highlights you may have Overlooked”

The Week “Comic-Con 2017 Top Shows and Films taking part”

Fox5 “What Not to Miss Saturday”

Glaad “Guide to LGBTQ-inclusive programming at Comic-Con”

Nerdophiles “Ladies Love Comic-Con”

Post-con so far:

Good.is “Women had their Best Showing Ever at this year’s Comic-Con” (shared over 800 times and counting)

LA Times “Gina Prince-Bythewood Discusses Landing the Spider-Man Spinoff”

Huffington Post “Highlights Beyond the Highlights”

The Game of Nerds “Women Rocking Hollywood: SDCC puts female directors front and center”

Paste “Gina Prince-Bythewood is One of the Women Rocking Hollywood”

YES IT WAS A SUCCESS, BUT…women in film have a mountain ahead of them to climb, whether they are directors, or below-the-line crew.  Just look at this video, which gives just a tiny look into the experiences they routinely go through:

If you want to see all the “Flip the Script” shorts, go here.

They need fans and film lovers to act as support sherpas on their way up the Everest that is patriarchal Hollywood. It’s up to all of us to help them in all the ways we can by following them on twitter, supporting their films, and loudly echoing each other to become one the voice for equality.

We will be back next year, and will cover women-centric and female written and directed projects throughout the year, both on Cinema Siren and WomenRockingHollywood.com.

Read us, and also other great sites supporting women like Women in Film: LA, and Women and Hollywood.

We’ll write more about the experience when we post the video of the panel!!


CINEMA SIREN INTERVIEW: Director of Megan Leavey Gabriela Cowperthwaite talks about female directors, female soldiers, the freedom of documentaries, and the gift of animal loyalty.


CINEMA SIREN INTERVIEW: Director of Megan Leavey Gabriela Cowperthwaite talks about female directors, female soldiers,  the freedom of documentaries, and the gift of animal loyalty.

Coming this weekend is a film based on the real-life experience of a female marine and her canine companion. Review is HERE.  I spoke to director Gabriela Cowperthwaite about her experience:

Leslie Combemale for Cinema Siren: Kate Mara recommended you to direct this film.  Would moving to narrative feature films been a natural progression for you, or is documentary work always going to be your focus, with occasional features?

Gabriela Cowperthwaite: I thought of myself as a documentary filmmaker forever, and as a result of Blackfish, I got interest for me to work in features. It was agent-driven. My agent and manager came forward and asked if I would be interested in doing features.  I said, “Yes! of course!”  I love movies, it wasn’t something I had ever thought of but it was brought to me and I thought it sounded amazing. I started getting scripts, and became attached to another film and then this script arrived via Kate and she said she would love to recommend me to the producers, and I loved it and it all went super fast.  We were on a plane.  They were green-lit, they were ready to go, they just needed a director. It was very very quick.

CS: You directing this story seems perfect, since not only had you directed Blackfish, but you’d also worked as an embedded filmmaker with the military in several countries at war.  Having had those experience, what surprised you in making the film?

GC: I tell people i wanted all my previous worlds to inform this one, so it was almost more in technique.  What I love in documentary and what I’ve always loved is was not knowing what was going to happen.  You show up with your camera and everything, you can plan and hope it will go a certain way, but it just never does. You just have to be so spry and so ready to recalibrate at a moment’s notice.  The adrenaline that comes with that is a rush, but also when that thing happens it feels amazing. IT feels like a piece of magic. Going into narrative, I was like “how am going to find those moments?” I found myself engineering moments of spontaneity and letting actors ad lib and saying “forget about the lines, let’s just be”…that was an interesting challenge for the actors but they’re so good at a number of things and they were excited to have that freedom and be able to go off script so I think it worked.  It definitely came from my documentary.

CS: Are there examples of some of the ad libs that led to something inventive?

GC: One thing very much was Common.  Gunny Martin.  His humor.  Totally deadpan but it’s totally him. A lot of that isn’t scripted. Discovering that he, this larger than life, musician Oscar winning human is actually hilarious. He really was having fun with it.

CS: I know he had done a lot of research about the way people become marines and how it influences their personality…

GC: exactly. Gunnary sergeants aren’t just going to drill into you. It’s not going to be serious discipline and being dressed down. Or yelling at people. In that kind of position you have to find ways to inspire people. For him it was humor and messing with people. But it came from him! It came from the research but he thought, “I can mess with these guys…”

CS: Working with dogs and having them be so much a part of the story had to be interesting.  You are so much an activist and so concerned about the safety of the animals. I know there are explosions and stuff and rightly lots of fans who love animals are concerned about them.  Can you talk about that?

“The dog rules.  Dog is number one on set.  They don’t choose to be there. You’ve got to know that and make sure you make them comfortable in every way you possibly can.”

GC: A lot of the explosions are enhanced by sound design so it doesn’t scare the dogs. That’s all post production for safety.  There are loud noises on set, that’s for sure. What it would mostly be is loud noises would happen, the moment they heard them the first time, the second time, they weren’t startled as much. For me it was most important to do as few takes as possible with them. There are a number of dogs, so you never use one dog more than you need to or more than you should. But for me it was like, and everyone agreed with me on this, Kate, me, the producers, the trainers, they all knew he’s going to deliver. He’s the one you don’t need worry about. Kate is an animal person, she read him and they became buddies and bonded—professional actors that became friends…she knew what to do with him, he knew what to do to deliver, so it was just a matter of us being together and on top of it all. Are we rolling at the time? There’s no time to adjust the light. This is happening right now, and we’re not going to make him keep doing it. We’ve got to remember that. I gave a big pep talk about that even before we started shooting. The dog rules.  Dog is number one on set.  They don’t choose to be there. You’ve got to know that and make sure you make them comfortable in every way you possibly can.

CS: What about this particular story really hooked you? What made you so passionate about wanting to do it?

GC: I would say it was a full blown character and such a unique opportunity that you think you’ve heard before, a war story about someone being transformed by being at war and coming home. It was done through two completely unique agents, two completely unique access points.  A female, a marine, we don’t hear about women in war very often and certainly not in movies, and a canine.  It’s like a brothers-in-arms story, but there’s not a brother anywhere in sight.  She felt fresh to me and cool and someone I could know. I liked that there were female writers behind it so she had some comebacks and things to say, and an authentic perspective.  She was someone who you could tell was written by a woman. and honestly it was greenlit.  What I’ve come to learn is with a documentary, I just get up and go.  I find a story and grab a few shooters and we go do it. That is an amazing freedom that comes with documentaries.  In the narrative feature world, you are asking permission to tell stories a million times over. It’s this dance you’re doing, it’s so strange and so new. You’re pitching it, you’re like but I know how to do this and this is how I’m going to go about it.  It’s strange because to you it has been taken for granted that you just get up and go out and make a movie. When you find one that’s ready to push the go button, you’re finally let’s go!  Really having it be “go time” was a huge factor.

CS: as someone who has focused on documentaries, and as a woman, do you think it IS the freedom, and the fact that you don’t need permission, something we often struggle with as women, is the reason there are so many women in the field?

GC: I think for sure we can’t underscore enough that you don’t have to have permission, you just go do it. I think that we are adept at paying attention to things that other people overlook. We aren’t going always for or driven to the shiny thing, the big thing, the thing that makes all the money.  The obvious thing…we are driven to give a platform to someone that nobody’s paid attention to, an issue that nobody seems to care about, like unsung heroes.  I do think women search for nuance and subtlety and we find beauty in those things.  There are certainly men in documentaries that do that, and spectacularly well. We in the narrative world, I think we are still fighting this belief that we female directors are this big risk.

CS: Wonder Woman is helping to change that, I hope.

GC: It’s a huge deal, and it’s Patty Jenkins, and I will say this. She’s a phenomenal filmmaker and someone I’ve been aware of since Monster. If she was allowed not only to be the director of this film, but be listened to, and if her aesthetic and her work onscreen, and her creative mind they hired and checked off that box that they got a female film director…when they checked that box are you taking her creative mind with you? if that’s the case, if they have, it is gonna slay. If it doesn’t slay, it isn’t a Patty Jenkins issue. I’m going on record saying that.  If they let her do her thing, it’s going to be amazing.

CS: What is next for you?   

GC: I want to always do narrative and always do documentary. It would be amazing to play in both sandboxes. It’s just story-dependent.  I have to love that story and feel like I’m the agent for it.  Is a documentary the way in, or is narrative the way? It’s totally story-dependent.  The next thing shifts all the time. Yes, there are piles of scripts I see, but they aren’t necessarily what i’m being considered for, but stories I’d go to the mat for. That’s the different between being a “FANCY” narrative director, and a new narrative director.

CS: What are you hoping people are going to get out of this movie?

“We say “thank you for your service”, but what does that mean?”

GC: You know, a few things. I do think it’s a love story, a relationship story.  The themes are loyalty and friendship and what having a bond means and how it changes you. I hope at some level people get that and are inspired by that. Those are the themes in real life that transform people every day. I also hope a couple of things: the third act was really important to me, her coming home and what it means to come home, and this was a very specific of that. Maybe if we can crack open what it means to come home through, that would be great.  We say “thank you for your service”, but what does that mean? We say that, I think of that all the time. I have no idea what the veterans coming home have experienced or the depth of their service. I don’t know what they experienced.

CS: with animals used in combat, you take that a step further, because they can’t tell you.

GC: That’s right. You say thank you for you service and I want people to think about what service means. People come home and there are many times when they come home broken. How do we equip ourselves to help them get what they need? In Megan’s case, it was to partner her back with her dog.  In their case, neither of them were whole without each other, and both were healed by being together. Hopefully it gives us a peek into how we can do that for everyone, and how to feel compassion for them.

Animals and dogs are loyal and companions and I know that stuff in a general way, but when I learned about the canine unit, and I learned about the extent to which they sacrificed for hundreds of years by our human sides during wars fighting along side us and they don’t choose it the way we do. Showing them the respect and appreciation for what they have done, through their loyalty, is the least we can do for them.


Film Review: You’re A Wonder, Wonder Woman


I just got back from seeing Wonder Woman, a movie that for me was by far the most anticipated of the year.  It isn’t because there aren’t some wonderful, highbrow, meaningful stories being released at Oscar season in October and November.  It’s because Wonder Woman is only the 4th live-action film with a budget of $100 million dollars ever directed by a woman.  I really wanted it to be exceptional.  I wanted it to be one of the best superhero movies I’d seen.  Thank Themyscira and all the goddesses, it is.  It’s fun, entertaining, and full of the sort of womanly power, strength, grace, and value we rarely see, especially in a superhero movie.

Directed by Patty Jenkins, who helmed the film for which Charlize Theron won the Best Actress Oscar, MonsterWonder Woman is in safe and skilled hands.  It is also in the hands of the first female director of a DC or Marvel feature film, and DC should be absolutely thrilled with the results, and with the exceptional buzz and positive reception it has gotten around the world.  Twitter and Facebook are filled with posts of little girls and little boys in costumes, striking the cross-fisted pose.  Patty comes by directing a story of military bravery with a strong female character, however based in comic book fantasy, honestly.  As you’ll see in the credits, she dedicates the film to her father William T. Jenkins, an Air Force pilot who won a Silver Star in Vietnam, and she grew up with a mother who was an environmental scientist.

Wonder Woman is essentially a mix of origin and fresh-off-the-island stories.  The action begins on the hidden island of Themyscira, where a world of Amazonian warrior women live and train to be ever stronger in battle.  From a young age, Diana (Gal Gadot) daughter of Queen Hippolyta (Connie Nielsen), is taken under the wing of consummate fighter Antiope (Robin Wright). It appears time passes far more slowly for this society, which is entirely devoid of the male sex, at least as inhabitants.  When pilot and spy Steve Trevor (Chris Pine) crashes in the sea below the cliffs of her island home, Diana saves him, only to learn, along with the rest of the Amazons, that the outside world is in conflict, fighting “the war to end all wars”.  Diana determines to go with Steve to try to make a difference, and stop the war.  She believes the violence is, in part, the doing of Aries, the God of War, and she knows if she finds him and kills him, all will be right again. Ass-kicking, great one-liners, and dialogue in which a female character does not always defer to men, and their leadership or wants, ensue.

If the two-hour-and-twenty-one minute running time flies by as if transported in an invisible jet, the parties truly responsible are Gadot and Pine, who have great chemistry both individually and as a screen couple. There is, in Gadot, an innocence and genuine optimism that harkens back to the Christopher Reeves era Superman movies of Richard Donner. Indeed director Patty Jenkins says his work was a major influence for the feel of Wonder Woman, and for Diana’s lack of cynicism and fearless bravery.  Gadot is a genuine star, much like Reeves was, and the camera not only loves her, but she seems to strip herself of all pretense for it, which is in perfect service of her believability as the character.  Pine is essentially playing what every actress who loves old Hollywood would recognize as the wise-cracking dame.  He is Jean Arthur in Howard Hawks’ Only Angels Have Wings.  Bless him, how can we not love his Steve Trevor, a WWI pilot who falls for a woman of substance and power? How can we equally not fall for Pine, with his pithy delivery, and a cynicism and world-weariness that crumbles before our eyes? He can be the Lois Lane to my Superman any day.

My screening partner and gal pal said she felt she was watching something very familiar and recognizable, but something she’d never seen before onscreen.  A perfect example of that is the consistent positioning of Diana as Wonder Woman at the front of every battle scene. She is the undisputed leader. In real life, there are women who lead in nearly every aspect of life, we just seldom see it unqualified on film. Also refreshing, is Diana’s reaction whenever Steve does something generally thought of as gentlemanly, like holding a door, or giving her his coat.  She sees his actions as being from one human to another, not what is expected from man to woman, and in a perfect world, this is as it should be. There is no sexual barter on Themyscira.  On the other hand, as a spy, Marvel’s Black Widow has been trained to use her sexuality as part of her bag of tricks.  Those tricks are entirely unnecessary for an ageless Amazonian warrior.

Of course some might argue there have been other strong female characters in Marvel movies.  What about Scarlet Witch and Black Widow? They are a part of a larger group run by men, and secondary, co-starring roles. When you give us Captain Marvel, directed by a woman, we’ll celebrate.  For that matter, give us a male-led superhero movie directed by a woman.  We want that, too.  Hopefully, box office success will result in an expansion of the Wonder Woman franchise, which can lead us to better circumstances for all women in film.

There are some nitpicks.  The last quarter of the movie flags a bit, and veers into the usual big blockbuster battle territory.  The film music should have utilized more of the guitar riff we’ve come to adore from the trailers, instead of some protracted periods with the more predictable orchestral passages used in the score.  That’s it, though.  It’s otherwise a 2 hour-plus delight.

On my way home from the screening, there was an old radio show from 1944 called The Judy Canova Show playing in my car.  She closed her show, as she always did, with the song “Goodnight, Soldier”, reminding people as she tirelessly did off the air, to buy U.S. War Bonds.  Her last words on this show were “Remember! Get into the war with your hands, as well as your heart”.  Wonder Woman was there in 1944, too.  Her first comic book cover was in January, 1942. 

She’s still fighting, only now she fights for women’s equality in Hollywood.  Kudos for all those involved at DC and Warner Bros. in making this woman-helmed and woman-led film so very entertaining, and for getting into the war for gender equality in Hollywood with their hands as well as their hearts.


In area theaters. For why you should see this film this weekend, read this article.


SEEING WONDER WOMAN? See it Early and Support Women in Film!


How excited are you about seeing a Hollywood film featuring the most popular and beloved female superhero? Maybe you think you’ll go soonish, or certainly, of course, see it while it’s in theaters.  Have you bought your tickets yet?  What are you waiting for, an invitation from Diana herself?  Let me suggest you go as soon as possible. Here’s why:

As you may know, Wonder Woman is directed by Patty Jenkins.  She is going to be only the 4th woman to be hired to helm a live action. film with a budget over 100 million dollars.  The 4th woman if you only count live action, or if you count animation features as well, the 6th.   That number is out of 361.  There have been 361 movies made with budgets over 100 million, and Wonder Woman will be the only the 6th movie ever with that big a budget to be helmed by a woman.

I’ll give you a moment to let that sink in.

Ok, why will going to see Wonder Woman early help?  Money talks in Hollywood, as with any money-making business. If lots of people go to early screenings and the movie breaks a number of box office records, it offers further proof that hiring female directors is as smart and financially sound a choice as hiring another male for the next movie with a big budget.

It might surprise you to know that the movie-going public, much like the general makeup of the population, is 51% female.  Women don’t avoid movies, and they certainly don’t avoid them if they have a female lead character. Unfortunately, in the US, they do have to contend with the fact that way less than half of the films released by studios in this country pass the Bechtel Test, meaning fewer than 50% have two named female characters that speak to each other and about a subject other than men.  Obviously since Wonder Woman partly takes place on an island entirely inhabited by women, this film will pass the Bechtel Test with flying colors!

Things are changing very slowly around the world for women behind the camera, but they are changing.  Just this year at the Cannes Film Festival, Sophia Coppola won Best Director for her remake of 1971’s The Beguiled.  She is only the second woman to ever win Best Director, with Russian auteur Yuliya Solntseva being the first for The Story of Flaming Years all the way back in 1961. This puts Cannes, the festival who turned away women in flat heels in 2015, ahead of the Oscars, which has only bestowed one woman, Kathryn Bigelow, the honor.  Lina Wertmuller for Seven Beauties, Jane Campion for The Piano, and Sofia Coppola for Lost in Translation are the only other female directors ever nominated in the entire history of the Academy Awards.  Hurrah for Cannes!  The Academy has a lot of work to do, especially given recent snubs including Ava DuVernay and her glorious movie Selma, Jennifer Kent, the writer/director of genre-buster The Babadook, and Maren Ade and her very strange, yet delightful dramedy Toni Erdmann.

It may seem like this sort of campaign, the desire for a female-helmed superhero movie to do well at the box office, is trivial in comparison with heavier subjects like world health concerns for women.  The fact is that directors are able to bring attention to subjects and issues with smaller, Indie films, when they can make big, high-profile money-making movies as well.  Even Steven Spielberg will tell you, clout and box office success as a director get many a passion project made.  Female directors have important stories to tell that can change public perception about any number of subjects. For example, no one would have ever known the real-life story of brilliant female chess player from the Ugandan slums, Phiona Mutesi, had it not been for Mira Nair’s film, Queen of Katwe.

Numbers matter. They open up opportunities for women in front of and behind the camera, in the writer’s room and editing bays, and for any number of other positions ‘below the line’, like production design, art direction, and sound design. Gratefully for the fans and filmmakers of Wonder Woman, the film has gotten nearly universal praise by top film critics around the world.

So… you and your friends can be some of the first to talk about the beauty, grace, courage, and strength of the beloved superhero.  At the same time, you’ll be adding strength to the numbers of current and future women in film. You just have to buy a ticket, put on your Wonder Woman converse shoes, and head out to the closest multiplex. See you there!


The Wedding Plan Review: The little Hebrew-language Rom-Com that could


You may not imagine that you’d be hankering to see a romantic comedy in Hebrew this weekend.  I’m here to tell you, this new indie, directed by Israeli-American director Rama Burshtein, and starring luminous stage actress Noa Koler as well as Israeli heartthrobs Amos Tamam and Oz Zehavi, will win you completely, and put a smile on your face that will stay stuck that way for hours.

32 year old Michal (Noa Koler) is an Orthodox Jewish woman who wants to find someone to share her life with, and wants the comfort and acceptance that comes with married life.  That’s not to say she isn’t entirely her own woman that dances to the beat of her own drum.  She has created a career of running a mobile petting zoo, which includes a snake and other creatures that would send most other supposedly feminine women screaming.  She has strong opinions and readily shows the depth of her feelings. When her fiancé, the man she thought would be her life partner, unexpectedly calls off the engagement only a month before the wedding, she is crushed.  Being of strong stock, she picks herself up and determines she’ll find Mr. Right in time to go ahead with the nuptials. She trusts god to find her the perfect match, with barely a month to spare.

This movie is a great example of what the future of Rom-Coms can deliver, embracing all the genre’s positivity and romance, but adding the twists, darkness, and raw emotion that gives it both staying power and immediate relevance.  Director Burshtein knows how to write the sort of determination-led magical thinking with which character Michal has approached her life and her future, which is no easy task.  It could have easily seemed hokey or entirely unbelievable, but because this is about her trust in god, it becomes like a fairy tale, the ending for which the entire audience is kept captive and hoping.

For her part, Koler is not only perfectly cast, but entirely believable, which is essential to the film working.  International audiences agree with me, since she won Best Actress at the Awards of the Israeli Film Academy, the Israeli version of the Oscars.  Watch her as she goes on blind date after blind date, awkward yet steadfast in her belief she is doing the right thing, all the while feeling a little insane. It will induce chair-squirming empathy, and no doubt some recognition of past experiences.  Her chemistry with Zehavi, who plays Yos, a famous pop star who takes a shine to her, and Tamam, as Shimi, the handsome owner of the wedding venue, is off the charts.  The way these actors bring their characters to life makes even the surprise ending make sense.

One of the most interesting aspects of seeing The Wedding Plan is the way it represents the culture of Orthodox Judaism so that those who know little about it are enlightened. I knew very little, but loved learning from the portrayals how powerful and independent women can be, even though the pressure to get married is so strong. There are also concrete bits of culture represented like, excuse my ignorance, that Orthodox Jewish women who are married must cover their hair.  (see married Rama Burshtein’s IMDB for lovely pictures of her in head wraps)  Burshtein, herself someone who became Orthodox after being raised in a secular family, has as a writer/director dedicated herself to promoting film as a tool of self-expression in the Orthodox community. She did so with her first narrative feature in 2012, Fill the Void, which won a total of seven awards from the Israeli Film Academy.

The Wedding Plan is in a larger number of arthouse theaters than is usually the case for foreign language films released in the US, but that doesn’t mean you should tarry in finding a screening near you.  Independent films survive and thrive on early word of mouth and ticket sales.  For the sake of all of us who like romantic, positive examples of cinema, go see it opening weekend.


In area theaters now.


WAKEFIELD Review and Exclusive Interview with director Robin Swicord


This weekend the new independent film Wakefield opens, starring the unstoppable acting juggernaut, Bryan Cranston. It is a performance where he spends most of the movie by himself, and yet it’s tense, exciting, and represents the sort of character arc that keeps audiences connected and engaged.  Writer/director Robin Swicord is best known for adapting literary works for the screen, including The Curious Case of Benjamin Button (for which she was nominated for an Oscar) as well as Memoirs of a Geisha, Matilda, and Little Women.  She wrote and stepped into directing The Jane Austen Book Club.  Wakefield she adapted from a short story by E.L. Doctorow, who wrote Billy Bathgate and Ragtime. While the script is tight, it’s absolutely the Bryan Cranston show, which is as it should be.

Howard Wakefield is coming home from work in the city for what looks to be the thousandth time, his face haggard as he stares blankly out of the train. When there’s a power failure, he has to walk the rest of the way home, and getting there, he winds up in the attic across from his house.  He spends some time staring out the window, watching his family from the dark confines of the cluttered out-of-the-way spot, and decides to stay there for a while, ignoring concerned calls from his wife Diane (Jennifer Garner).  He falls asleep, and then is afraid to walk in without a good explanation for Diane, with whom he had just fought, and he’s been having rougher and rougher patches. As he makes himself as comfortable as possible, hours turn into days, the days into weeks, and the weeks into months.  What he does up in the attic, how his identity crumbles, and his understanding of himself, those he loves, and the world changes, is the meat of the movie.

Cranston alternately grumbles, mumbles, analyzes, and philosophizes as he watches his family and inner circle react to his disappearance.  He undergoes a transformation both inside and out, and the audience is witness to it all.  There are few actors who could have pulled the role off, especially given Howard Wakefield starts out, at best, misanthropic.   He cackles as he plumbs the dark depths of his intellect for insults about his extended family.  Through the proceedings, Cranston is called upon to show minute incremental changes through his intonation, facial tics, and body language, instead of through any obvious dialogue.  It may seem lunacy for the character to intentionally put himself from is own world, when it is only steps away. The story, however, makes sense, in that it’s certainly possible someone could be seduced into watching the world from the outside and find themselves trapped between wanting to disappear from their life and finding the courage to change it, even knowing they are inadvertently hurting the ones they love.

Jennifer Garner shows up in a way that goes beyond the occasional flashback or display of her experience as Howard is watching through binoculars from across the street.  She must do much with little, and portrays a character, though well fleshed out by the script, as someone with more dimensionality than you’d expect, given how little dialogue she has to represent herself.

The real reason so see Wakefield is the tour-de-force performance Bryan Cranston brings to it. He travels through the spectrum of emotions, and essentially empties himself out to rebuilds himself in under two hours, and he is almost entire alone in doing so.  By the time you reach the ambiguous ending, you may or may not love Howard Wakefield, but you can’t help but be in his corner.  Where are his crazy choices leading? Wherever, you will want to be with him to find out.


An Exclusive Interview with Director Robin Swicord

LC: Let’s talk about Bryan Cranston because I know he was your number one choice and it’s so wonderful that you would up having him because who could’ve done it the way he did?  He finds either sympathy or draws recognition from his audiences, which I think is his best quality. What sort of specific additions did Bryan add to it that you noticed enhancing the character development? Were they all physical or did he sometimes improvise words?

Robin: I know, no kidding. I can’t imagine another actor could have done what he did. I think that we were open to every kind of play on this. This is one of the unique opportunities that you get when you have a man alone in a room and he’s talking aloud and he’s behaving. Is that I can give him the script and he can do all of that and then he can do whatever he wants to besides. And in the editing room I can decide what I’m going to use of that depending on pace and tone and so forth. So I welcomed it all, I welcomed it from the very start in our first conversation and then when we went through the script moment by moment and line by line and beat by beat. We talked through everything in a long process that went over a couple of weeks, many hours a day, and during that time he would sometimes make suggestions that were really wonderful, you know. Some of them I would say, “we don’t have time for that, let’s slow the moment down,” but I didn’t necessarily say that to him. I just would kind of file that in my – I wrote down everything and I would kind of file these little notes – knowing that when we got to the stage things could be different. And they were, you know. Once you step on the stage and you’re in character and you’re wearing your beard and you’ve got on your distressed clothing, the impulse you had in talking through the script might be very different on this day. So allowing him to have the freedom to play and to not be constrained was part of our deal, it’s part of why I chose him and I think part of why he chose me.

LC: There aren’t a lot of locations, and that can sometimes be quite claustrophobic for a filmmaker, but it really doesn’t feel that way in watching the film.

Robin: Right, well I would say that the attic set was pretty claustrophobic there was only five days of it. The rest of it was on location at the house or in Altadena or South Pasadena or even further afield when we did the nature preserve, so it’s deceptive, but there actually are quite a few stages, I mean location changes for this. I don’t think that we ever felt claustrophobic, I never did, and in fact we finished shooting in the attic and then we went sort of across the lot to shoot the New York scenes and the bar scene and then we were done. Except for one day we had to go to travel down to shoot all the train station stuff. And so basically those last three days were so jam packed there was no time for nostalgia, but while we were on the New York set and shooting the stuff in the past, I heard that they had dismantled the attic and I felt a tremendous pang that I didn’t get a chance to say goodbye.

LC: So when you only have 20 days to shoot,, it becomes quite a partnership, since apart from the other crew, it’s mostly you and Bryan… how many takes did you often do of the same scenes?

Robin: We didn’t do that many takes of the same scenes, although that depending on what it was. By budgeting stuff that you knew you were going to get very quickly, you could then buy time on the attic set for instance, to let him try stuff three or four different ways. And he tends to do that, he’s not a perfectionistic, he’s not “oh let me get that again because I said that word kind of wrong”… you know. If he wants to do another take, it’s because he has another idea. And so I tried to give him as much of that kind of time as I would but I always had my first AD to my left shoulder saying we need to be out of here in 45 minutes, then I would have to decide, right there on the spot how much time am I going to spend here or am I going to change camera lenses and do something different. So there was a lot of organization and there was a lot of minute-to-minute pressure and I tried not to pass that onto the actors and just let them feel that they had all the time in the world to do stuff.

LC: It really comes in handy that he’s done so much stage work because it translates to the speed of making decisions around who his is in character.

Robin: That’s right and he could be in the moment. If he was in character and in the moment he could just do what was his instinct. He could say the line and it would come out and it would have its meaning, emotional meaning and also literal meaning. And so knowing that he was well trained, that he had spent all this time in TV where you’re shooting eight pages a day, he was a seasoned actor, not a diva, it just meant we could ask the impossible of him and his attitude stayed great. And I would be thrilled to work with him in a situation where I wasn’t having to ask the impossible of him. But in this case his attitude was fantastic through every frame, he literally would do anything that we asked him to as long as it was telling the story.

LC: I see this character as starting out pretty unlikable and certainly self-destructive, so there’s quite an arc there. What kind of trial and error did you go through in making it work as you wanted to in terms of being both the writer and the director once it became something you were translating onto the screen? Was there something you really thought was going to work that you needed to nuance or shift in some way?

Robin: I had to work a lot with the voiceover. That was the part that changed the most for me. Both in terms of how much voiceover was in the film, and also which verb tense he was speaking in, and I had to for myself settle questions of: Who is he telling the story to? From which vantage point? From which point in time and why? And so I had to sort of wrap my brain around that both as a writer and then later as a director in the editing room and when I had Bryan in recording. I knew from the outset that I wanted to record the voiceover a number of times all the way through as one script so that at different points in time his understanding of his own character would shift and grow because that’s what happens with actors, they begin and they’re full of ideas that come out of rehearsal or out of a reading of the script. As they do the work, they begin to have other ideas because they’re alive, and in the moment, and creative. That’s what happens. So I wanted to be able to capture all of that and sort of memorialize all of that. So we did a voiceover before we started, we did some during production, we did one at the end of production. At one point, I called him and I gave him some new voiceover lines which he put on his phone and sent to me, and then we recorded it all again at the very end of post. So we had a lot of things we could choose from in order to create that voiceover. That was the thing that shifted the most for me.

In terms of going to the adaptation, I knew that you had to work on issues of alignment, because, as you say, he’s not a character that people fall in love with instantly. He’s doing and saying things that we might not do or say. But he’s also tremendously vulnerable, he’s emotional, he’s thinking thoughts that we’ve also had, he doesn’t want to go in the house because he fears that his wife will be angry, and they’ll re-engage in another fight. He doesn’t want that to happen. So that thing of evading conflict all of us have felt or done that. And so as long as he was doing things that an audience could say or feel, “I have felt that way, I might do that as well,” then we were creating alignment, and it didn’t matter whether you approved of him as a character or whether you would think that’s the guy you want to marry. If you could say, “I’ve been like that and I have felt like that,” then that was enough for me. And so we built on that and Bryan also built on that because as you’ve pointed out, he is a truth teller. He really… it’s authentic with him.

LC: To me it seems like he’s pretending to be someone and he turns into someone in the span of the film.

Robin: Right, he’s a man at the beginning who doesn’t understand and he’s actually dislocated from his true self.

Everything he is doing is really not the way he feels inside. That he’s taken on certain kinds of roles without being even remotely aware of it.

He begins to evolve. But first he has to go through kind of a feral animal stage, it’s almost like he has to go through the stages of being a human being again in order to grow up again into this person who I can’t say with any confidence really does know himself at the end. But at least he knows what he loves.

LC: I love that. I love the ambiguity, because you either leave the film being optimistic or cynical and it’s all in your own perspective. That is a way of hooking in the viewer in a way that would have been very difficult to do any other way than the arc of the story.

Robin: That’s right, it is meant to be a subjective film so that even the ending is subjective depending on how the audience feels that it ends.

LC: So often men inhabit women as directors just by the nature of there being so many more hired to direct than women, but not so often do women inhabit men – and I’m talking about the male gaze versus the female gaze. Do you think that the approach is as individual as the directors or is there some commonality to women writing and directing a film featuring a strong male lead? What’s your perspective on that?

Robin: I think that that is a brilliant question, I really do, and I feel that I’m going to come up short in giving you an answer because it’s such a big subject. I would have to really make a study of movies that are directed by women that are about men in order to even begin to understand that. I can tell you that from my personal answer is: I am not sure that a man would have made this movie. Because I am actually interested in the male gaze and the idea of men projecting onto women, and I don’t think that there are just a legion of men or male directors who share that same fascination. So I’ve come to it in a certain way and I’m not sure that another person would have.

I love so many different kinds of movies – I love movies about men, I love movies about women, I love movies about animals. I don’t necessarily think of myself as only coming from a place of being a female viewer or a female writer or a female director. I really am just a tremendous appreciator of art in general, and I come to film or books or poetry I’m engaging with, I come to that for personal reasons and not for reasons of gender. But inevitably, because we have different experiences, men and women, we are shaped by the culture that we live in. To see a movie about a man who initially is objectifying his wife, is going to have a different meaning for me because I have been objectified quite a bit in my life. Whereas man might say, “Oh here’s a man who’s objectifying his wife,” but his approach would feel completely different because he hasn’t had that experience. So the personal and the gender politics end up being entwined even though we would like to think that we can escape that.

LC: As a writer/director who really mentors female writers, I was looking at Hedgebrook and all of the work you’ve been doing, what are your thoughts on more women creating films where it does analyze men through male leads? Or should there be more of a focus to bring more women into leads, and women working with each other on screen and that sort of thing? How do you believe we have to proceed in order to change things?

Robin: I think that’s another great question. Personally, I just want to see more women writing and directing period. I honestly don’t care whether they give us female or male protagonists to study. I think that there’s no should involved. The only “should” should be that these obstacles need to be cleared from the path of the women who are creative and who want to be making films and have a gift to do that. And if we do that we can then over time begin to see, what is it that women want to say what is it that they want to explore? We don’t even know because there’s been so much pink and blue coding in Hollywood that the kinds of movies that I’ve been suggested to write are ones that my husband Nicholas Kazan, who’s also a screenwriter, would never have been offered because he’s male. Likewise he’s always being offered stuff that I would never be offered. There’s so much coding going on that we don’t even really know what is it that women have to say. We’re still in the stage of what is it that women are allowed to say.

LC: Right and that to me is the reason I’m so grateful about this movie because it does show that a woman can write a movie that stars a man, that’s about a man, that’s about a relationship, and about an emotional arc –

Robin: Well we can, we just have to raise the money ourselves.

LC: Well that’s so different in Europe, so many more women are making movies in England than they are in the United States. The rules and the laws are different there.

Robin: Right and those are businesses that are supported by the government. Like if we could apply for grants to the United States government and say we want to make Wakefield and that money were available to us as long as we had real movie stars in it then there would be no problem. If we lived in Denmark, half of all the movies financed by their government would be directed by women, that’s their law.

LC: Australia, too.

Robin: Yeah. So we just don’t live in that world. We live in a world that is supposedly dictated by a marketplace but this marketplace is run and conceived of and by people who have an unconscious bias against letting women in and so women have to come in the side door, through film independent and Sundance and through the way we put this together, it was going and finding independent financing from a group of Broadway angels. So there’s no such thing as getting a grant or one-stop shopping. Every single movie has to be scrounged together for different voices to enter the film business and that’s not to say that people shouldn’t – there’s a lot of artistic freedom in being able to do that, and I say more power to all of us who are doing that, but you know there’s no gender parity yet in the film world here because some people get to come in the front door and are given big budgets and can make movies under the umbrella of a studio and everybody else who’s representing a point of view that is considered to be new or different is having to put it together piece by piece.

LC: Can you talk a little bit more about the screenwriters’ lab that you have been involved with?

Robin: Hedgebrook is a wonderful women’s writing retreat that was started some-40 years ago by a woman named Nancy Nordhoff on Whidbey Island. She had a piece of property and she had a little bit of money, and she decided that she would build some cottages there, that she would invite women to come in and use that as a room of one’s own, a place to write. And she couldn’t take more than six people, but she was open to whoever showed up for that. And they created an enclave there in which you apply for a residency, and if you’re lucky you get one, and then for that period of time you’re allowed to write, or not, you can walk the property and think your thoughts or you can write in the privacy of your room. They provide the meals for you and in the evenings for about an hour there’s a kind of communal friendship between all the other people who are staying there at the same time.

It’s a very simple idea, it’s not different from other kind of writing places but what’s radical about it was that it is only for women and that half of the people that they invite are women of color. And so right away you’re encouraging diverse voices and I’m interested in encouraging diverse voices. So I was offered an opportunity to teach a master class there, which I enjoyed doing, but what I brought to them was an idea of doing a screenwriting lab, and I was able to through Humanitas, which is another organization that is interested in encouraging diverse voices, Humanitas gave them a grant. They put together a group of women writers called The Wolf Pack and they had financed this screenwriting project for the past three years. And we’ve grown enormously, we can still only take five or six people for one of these writing labs because that’s how many people the property can house, but we went from like 125 submissions the first year to 260 the second year and this year we expect there to be more. There’s a tremendous demand for mentorship and for getting your hands on the tools to become a better writer and that’s what this workshop offers.

For more information about Hedgebrook, go to http://www.hedgebrook.org/

Wakefield opens in area theaters this weekend around the country.  See it and support women in film.


Their Finest: See This Fine Female-fueled World War II Indie Dramedy


It’s always great to hear we will be treated to a movie co-starring Bill Nighy. He joins star Gemma Arterton and co-star Sam Claflin in a charming, bittersweet dramedy opening in arthouses this weekend called Their Finest, about a woman living in World War II London who takes a job as screenwriter for a propaganda feature film called Dunkirk. Exciting, as well, to know Their Finest is helmed by a female director, Lone Scherfig, written by women, Gaby Chiappe and Lissa Evans, and features a female scoring artist, editor, and production designer.  Thank Goddess, apart from a few flaws, it’s also really good.

Welsh gal Catrin Cole (Arterton) is married to a struggling fine artist (Jack Huston), and they live in a small flat in London circa 1940. She applies for and gets a job assisting screenwriter Tom Buckley (Claflin) by punching up what he called “the slop”, the female dialogue, on a morale-boosting film about Dunkirk and the Battle of Britain. They are beholden to the British Ministry of Information, which is constantly guard-dogging their dialogue and storyline, to make sure it’s optimistic and patriotic enough. Their film includes a role for aging matinee idol and narcissist Ambrose Hilliard (Nighy), who is a consistent fly in the ointment, as are his agents, and the various members of the Ministry. Catrin deals with her own romantic entanglements and attractions, her husband’s displeasure at her becoming the breadwinner, and her desire to be part of creating a film with the power to inspire her fellow countrymen and women in their time of trial.

Arterton is so winning as Catrin Cole, she would be reason enough to see the film.  Her beauty, I think, seems to have been a limitation for her in the roles she’s gotten, because she is a very fine actress, and here she has the opportunity to show her range. Nighy nearly steals the film away with each entrance, which is perfectly in keeping with his character. Claflin plays a cynic who needs an infusion of idealism, but is trapped in a time when representations of idealism are hard to come by, especially with people being killed by bombs on a daily basis.

The movie has its share of sentimentality, and sometimes dips into the maudlin.  It also suffers from not fully leveraging the chemistry between the romantic leads. There are two secondary characters that are pretty one dimensional, although I appreciate having the 40s version, or really any version, of an “out-and-proud” lesbian, in  Rachael Stirling’s Phyl Moore. Huston, as Catrin’s husband Ellis, plays a role we’ve definitely seen from him before, but a war film about a married working woman, struggling to help pay the rent her painter husband can’t afford, has to have its unsympathetic sexist, and it fell to Huston to play him. To be fair, that was the experience of a number of women of the time.

Still, all the actors are magnetic for themselves enough to carry us through, especially Arterton, Claflin, and Nighy, who can always be depended upon to keep our attention, even given the diversity of the roles they inhabit.

You know how it goes.  It’s a delightful charmer, until it isn’t. This is, after all, World War II.  Have Kleenex on-hand, and be prepared for more than a little darkness.  Then expect to witness the formidable Brit perseverance and gumption that those who survived mustered from little more than a strong cup of tea.



The Zookeeper’s Wife: An Inspiring, Timely Story of Holocaust Rescuers


Coming this weekend is a movie whose subject matter, which is based on a true story, will be compelling to many compassionate, loving people. The film The Zookeeper’s Wife asks, “What would you do? Would you risk your life every single day to rescue total strangers?” For Antonina and Dr. Jan Zabinska, who ran the Warsaw Zoo before and during WWII, the answer was yes. It was yes every day.  For myself, I’ve always been fascinated by the Holocaust rescuers of WWII, not least because of my own family history. My grandmother was part of the French resistance, and her brother was a Vichy collaborator, which led to them never speaking again after the war. I have always wondered what I would do in the same circumstances.  What is certain is that Antonina and Jan Zabinska fearlessly chose to do the right thing, and The Zookeeper’s Wife chronicles that choice.

Antonina and Jan Zabinska ran the Warsaw Zoo, and at the beginning of the German invasion found a way to save a number of the animals, as well as a way to give refuge and offer escape to over 300 jews.  They did so in part by courting Hitler’s chief zoologist, Lutz Heck (played by Daniel Bruhl) while hiding jews right under the Germans’ noses they smuggled out of the Warsaw ghetto in bombed-out animal cages.  They called them their guests.  To find out how they succeeded with their plan, and the harrowing near-misses they experienced, you’ll have to see the movie.  Be warned, the cages were available and empty because many animals were killed by bombs, and others by invading nazis needing meat. For the sake of preparation, it’s best to know that part of the sad story up front.

The stars of the film are Jessica Chastain and Johan Heldenbergh as Antonina and Jan Zabinska, and apart from the shocking knowledge the whole story is true, it is their work, along with that of their co-star Bruhl, that offers the very best reason to see The Zookeeper’s Wife.  Those who have seen The Broken Circle Breakdown (which I called one of the best films of 2012) will recognize Belgian star and playwright Heldenbergh, who is deservedly a very famous actor in his home country. He has an old Hollywood leading-man quality and magnetism that brings Gregory Peck to mind. Daniel Bruhl has a tough job keeping Third Reich zoologist Lutz Heck from being seen as anything more than a threatening, manipulative, hateful villain. History has shown Heck did indeed steal the most valuable animals from the Warsaw Zoo, but Antonina and Jan let him, knowing it was likely the only way to save them. Bruhl finds a way to make us believe that Heck himself must see what he is doing as righteous and good.

The movie, however, belongs to Jessica Chastain, who perfectly embodies Antonina’s outward fragility and inner strength. She captures with complete believability Antonina’s compassion and skill with both the animals of the zoo and the terrified victims of the ghetto, with its inhumane conditions. She proves once again she is deserving of being at the top of Hollywood’s A-list.   

One very good reason to support The Zookeeper’s Wife is it’s written and directed by women. New Zealand-born director Niki Caro, best known for her breakout film Whale Rider and the upcoming live-action version of Disney’s Mulan, was drawn to the project immediately. “The fact that it’s set in a zoo was intriguing to me, because it’s really discussing what is human and what is animal, what is and isn’t a cage. In directing the movie, I was thinking of the tension between those two things, and a lot of the visual storytelling is occupied by that.” The story is based on the non-fiction book written by bestselling naturalist Diane Ackerman. Ackerman says, “Antonina’s story had slipped between the cracks of history, as radically compassionate stories sometimes do, especially stories about women.  I couldn’t let that happen to Antonina Zabinski. She was too important and represents a kind of heroism still taking place every single day on our planet.” Indeed, a number of earlier writings and reference to these events only speak about Jan Zabinski, incorrectly saying Antonina fled with their son before the bombing of Warsaw. The screenplay is written by Angela Workman, who believes the story is universal and timely. “We always say never forget, and we’ve heard that phrase before, and we tell this story to remember these people at that time, but even now, there are refugees everywhere. This a story about trying to help them, and save them.  It’s a story about people who are judged or perceived as “the other”, and recognizing that they are not “the other”, that we are all animals. We are all the same species”.

The film struggles to tell its story, however, in a way that keeps a committed audience.  Blame the editing.  It’s as if it can’t decide whether it’s a studio or indie film. It switches between an intensity and languidness of tone arthouse film fans will recognize from films like Sophie’s Choice, and the populist suspense of a would-be blockbuster, bringing to mind 2013’s The Book ThiefThe Zookeeper’s Wife would have benefitting mightily with a running time cut by a half hour, especially as some of the aspects of this true story are so difficult to watch. Replacing some of the longer scenes with shorter ones that get the gist of what’s happening across would have been better, although perhaps there was a fear that wouldn’t do justice to some heartbreaking minutiae included in the original book. No doubt it seemed essential to include some real-life characters like Henryk Goldszmit, a pediatrician who refused escape to stay with children under his care, ultimately accompanying them to Treblinka.  Is it better to cut that part of Diane Ackerman’s book out, or make the movie too long?

Even with that weakness, what remains is an important, well-told story, filled with great acting moments and beautifully realized scenery and environments. There’s great work by Oscar-nominated production designer Suzie Davies, who brings to vivid life both a vibrant European zoo in the 1930s, and the desperate, terrifying landscape of WWII-era Warsaw.

It’s important to mention the International Rescue Committee (founded in 1933 at the call of Albert Einstein to rescue jews and other victims of nazi persecution) is partnering with The Zookeeper’s Wife and has created The Zookeeper Haggadah, a supplement for Passover Seder that honors Antonina and Jan Zabinska, and their bravery. You can download it at Rescuers.org, and it really is inspiring, just like the story itself.

Whether you are an animal lover, or a people lover, or both, The Zookeeper’s Wife is very sad, and in some parts very hard to watch, but it takes on subjects that are also very inspiring, and, as screenwriter Workman says, very timely.  When you see something going on in your world, in your country, do you stay silent and let it happen, or do you do something about it? If you’re fascinated by history, especially Holocaust rescuers, and the true stories of heroism by every day people they represent, this movie is definitely for you.

Sites for more information on Holocaust Rescuers:

From The United States Holocaust Memorial Museum site


From The Holocaust Resource Center and Archives


From The Jewish Foundation for the Righteous



Raw Review: Eat director Julia Ducournau’s new horror indie up


There’s a new A-list of female directors building in the horror genre, and that’s a very exciting development. It includes Ana Lily Amirpour, Karyn Kusama, Jennifer Kent, just to name just a few, and it makes sense. If women writer/directors want to subvert expectation in the film industry, create an audience that isn’t skewed towards either sex, and tell a story that has room for layered meaning and depth, horror is a great place to do it. With that in mind, let me introduce you to a potential new entry into the horror film hall of fame.

Raw or as it’s called in France, GRAVE, has a lot to say about body image, self acceptance, society as consumptive, identity, and coming-of-age as a woman…and that’s a lot to say. Thank Goddess it’s being said through the writer/director voice of Julia Ducournau, who blends an auteur sensibility with the sort of deconstructionist horror that recalls the work of David Cronenberg.

16 year old wunderkind college freshman Justine (Garance Marillier) is starting school at a prestigious veterinary university. From the first night in her dorm, she is thrust into a world of excess and hazing, through initiations that, for one thing, lead to the life-long vegetarian eating a rabbit’s liver raw. Her sister Alexia, who is ahead of her at the same school, and who has been out of contact with the family, doesn’t help things. She’s the one who forces her into the various rituals, from being doused with animal blood to staying up all night binge-drinking and grind-dancing with fellow students. Justine finds herself starting to feel hungry for raw meat. When she doesn’t eat what she craves, her body turns on her in a number of ways, so she starts giving in to her desires. She gives in to her desire for raw meat, for sex, and anything else she feels compelled to experience. Alexia only spurs her on. Things take a dark turn when she has the opportunity to eat human flesh and takes it. Things get darker and more grotesque from there.

How far removed, beyond what is socially acceptable, are the merciless hazing, sexual politics, and peer pressure experienced at colleges, from the idea of people actually sinking their teeth into, drawing blood from, and eating parts of each other? Given the number of universities in the U.S. alone being called out for ignoring sexual assaults, and the leniency the courts show sexual predators, i’d offer, not very. That may or may not be what Ducournau is trying to say, but she does raise a number of questions, depending on your perspective. Certainly she is offering up an anti-heroine to the audience and asking us to, at least in part, remain on her side as she gives in to her impulses.

There’s one question that should resonate with everyone. Once we have gotten a taste of anything seen as “wrong”, or “immoral”, what compels us to continue having it, or worse, seek it out even more? What actions are completely unforgivable, or socially unacceptable, and who gets to decide that? Those are the sorts of themes that I find fascinating as approached by a young female filmmaker, because they are so far off the field of inquiry seen as acceptable for women writing and directing films. Why is that? Regardless of the answer, it’s refreshing to see it investigated onscreen. Those of us who love horror films that reflect societal issues should support it, no matter how much we may risk dry heaving in the process.



KEDi Review: This documentary on the cats of Istanbul mesmerizes


In Istanbul, cats have been an essential part of the fabric of its communities for thousands of years.  There are hundreds of thousands of them roaming free in the city. The new film KEDi is from Turkish director/producer Ceyda Torun. She highlights these animals, and how they exist independently yet often choose to interact with the humans around them, affecting them in deep and meaningful ways.  When you imagine mesmerizing online cat videos made classy and educational, then mashed up with a gorgeous geographic documentary on a historic city, you’ll be ready to sit down and absorb this delightful film.

It’s important from the beginning to accept that these cats, roaming citywide, is a dynamic, a relationship between a species and an environment that has a long history. In fact, the cats of Istanbul are treated with a reverence and respect that approaches the sacred cows of India.  A number of cats are profiled, as are people who connect with them. There’s Sari, a former slacker who, as a new mother, has become quite a hustler. She is always getting plenty of food for them to share.  Bengu is a female cat who lives in an industrial manufacturing neighborhood, and is lovingly cared for by the working men who see her as family. Another cat, Aslan, is a hunter who has earned the eternal gratitude and respect of those in the fish restaurant he guards as champion mouser. Neighborhood psychopath Psikipat is a female cat who terrorizes all the cats around her. One of my favorites is Duman, a gentleman kitty who hangs around a posh restaurant, but never goes inside, and only cues the chef when he’s well and truly hungry.  He subsists on fresh Manchego cheese and roast beef.

The love of the people who are interviewed, including one fisherman who is always saving orphaned kittens and nursing them to adulthood, and a man who credits the cats he feeds with saving him after a mental breakdown when nothing else would heal him, is profound. It’s clear, as is the stated intention of director Torun, that the cats of Istanbul are part of what gives the city its soul.  The film is in Turkish, but you can hear the passion in their voices, and the translations are often poetic and philosophical. Says one caretaker, “they say God will provide for them and I say, yes, but i’m the middleman.”  Another gets even more spiritual and reverent, “It is said that cats are aware of god’s existence but that dogs are not. Dogs think people are God, but cats don’t. Cats know that people act as middlemen to God’s will. They’re not ungrateful, they just know better.”

One of the most interesting aspects of the film is its lyrical quality.  It clocks in at an hour and twenty minutes, so those who choose to see it must approach it with a desire to be calmed, and almost lulled into a hypnotic state, as you would when petting a cat.  This is aided by the music, as created and arranged by scoring artist Kira Fontana, who is clearly influenced by classical composers John Adams and Steve Reich.

Tranquility and introspection, it would seem, are other goals of KEDi’s filmmakers. There’s a great quote by director Torun:

“In the end, I hope this film makes you feel like you just had a cat snuggle up on your lap

unexpectedly, and purr fervently for a good long time, while allowing you to stroke it gently

along its back; forcing you, simply because you can’t move without letting go of that softness

and warmth, to think about things that you may not have given yourself time to think about in

the busy life you lead, to discuss them with a group of new friends, friends from Istanbul who

tell you what the city is really like.”

If you don’t fall in love with the people of this city by the end of the movie, you’re made of stone. One cat lover mentioned he and all his friends have running tabs with the neighborhood vet from taking care of all the cats that come around. Really, both the humans and the cats of KEDi are pretty compelling arguments, barring increased terrorist activity, to put Istanbul on a list of must-see cities. Obviously those who hate creatures of the feline persuasion should run in the other direction, lest they be seduced to the dark side…which they would be. Those already in the “cult of cats” will, like I do, think KEDi is the cat’s meow.

Grade: B+

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