A Cut Of The Action: Top Ten Female Directors
October 4th 2008 07:36
It’s still a field very much dominated by the males of the movie world, but when it comes to the direction of films, the ladies are definitely turning a corner. Since Dorothy Arzner, many women have taken their place in the director’s chair, often exploring – among other things – politics, sexuality, identity and humour, and in the process have examined, deconstructed, and created their way into a whole new dimension of cinema.
Here are ten female directors who have shown us their view through the lens:
Patricia Rozema: She followed up quirky Canadian films White Room (1990) and When Night Is Falling (1995), a film about a woman’s sudden lesbian crush on a circus performer, with her own take on Jane Austen’s Mansfield Park (1999). She was widely criticized for her deviation from the text by incorporating parts of Austen’s own life into the film, but the result is a refreshingly modern and adult take on the story, with great performances by Frances O’Connor and Jonny Lee Miller.
Jacqueline Audry: The most notable woman director to first emerge from post-war France, Audry’s films were a strange mix of traditionalist and feminist ideas. Her first feature film, Les Malheurs De Sophie (1946) was censored for political reasons and no longer exists. She later made a trio of films based on the novels of Sidonie-Gabrielle Colette, Gigi, Minne and Mitsou, the last of which was heavily censored due to scenes featuring extra-marital sex. In the middle of producing these films, Audry made Olivia, based on the life of Dorothy Bussy, which has been heralded as one of the earliest and most important cinematic depictions of lesbian desire.
Jane Campion: Backed up her earlier successes with The Piano in 1993, a huge triumph for NZ born Campion, who became the second woman ever to be nominated for the Best Director Academy Award (the first being Lina Wertmüller for Seven Beauties). By then known for her portrayal of erotic fantasies, Campion went on to make an adaptation of Henry James’ Portrait of a Lady (1996) and Holy Smoke! (1999). Her film Bright Star, based on the life of John Keats and starring Abbie Cornish, is due for release in 2009.
Nicole Holofcener: Had a victorious directing debut with Walking and Talking, a critically acclaimed cult-hit starring Catherine Keener, before moving on to direct a range of episodes from television series such as Sex and the City and Six Feet Under. In 2001, she enlisted the services of Catherine Keener once more for her semi-autobiographical Lovely and Amazing, and again in 2006 for Friends with Money, gaining both critical and commercial success. Holofcener is now known for her unsentimental style and sharp insight into the everyday lives and trials of women.
Kimberly Peirce: Debuted as a film director in 1999 with Boys Don’t Cry, a powerful portrayal of the tragic life of Brandon Teena, an FTM transgender trying to live as a male in a small town in Nebraska. It was almost a decade later that Peirce released her second feature, Stop-Loss, detailing upheaval in the lives of a group of soldiers forced by the US government to return to active duty in Iraq.
Sofia Coppola: Daddy’s little girl has made her own name in Hollywood, being the third and final woman to date to receive an Academy Award nomination for Best Director. Coppola’s first feature, Lick the Star (1998) kicked off her reputation for themes such as adolescent isolation, introspection and fascination with the macabre, furthered by The Virgin Suicides which was released the following year. In 2003, Coppola hit the big time with Lost in Translation, before splitting audiences and critics alike with the decidedly stylised Marie Antoinette in 2006.
Chantal Akerman: Known primarily for her dark comedy and deconstruction of political-sexual ideas in French-language films such as Je, Tu, Il, Elle (1974) Akerman, a self-taught Belgian film-maker, also has a wide range of documentaries under her belt as well as several romances, including Nuit et Jour (1991) and A Couch in New York (1996), starring Juliette Binoche and William Hurt.
Patty Jenkins: Has three films on her CV, the most prominent of which is Monster (2003) starring Charlize Theron as real-life prostitute-turned-serial killer, Aileen Wuornos. Jenkins, who also penned the screenplay, has been praised for her humanist insight and ability to communicate the intricacies of complicated emotional relationships.
Gillian Armstrong: Was born in Melbourne and studied at the Australian Film and Television School before directing her first feature film – and the first Australian feature film to be directed by a woman in over forty-five years – an adaptation Miles Franklin’s My Brilliant Career in 1979, for which awards were won all round. In the nineties, Armstrong directed another AFI winning Aussie film, The Last Days of Chez Nous, and then two well-known adaptations, Little Women (1994) starring Susan Sarandon, Winona Rider, Clare Danes, Kirsten Dunst and Christian Bale, and Charlotte Gray (2001) starring Cate Blanchett, Billy Crudup and Michael Gambon. Armstrong’s most recent film is Death Defying Acts (UK/AU 2008), based on the life of Harry Houdini and featuring Catherine Zeta-Jones and Guy Pearce.
Niki Caro: Another well-known female director hailing from New Zealand, Caro shot to fame in 2002 with Whale Rider, the story of a young Maori girl living her own legend as she struggles to find her place within her traditional, male-dominated tribe. Three years later, in a very different place but with a familiar theme of challenging gender roles, Caro directed Charlize Theron in North Country, the true story of Josey Aimes and her battle for sexual equality and a discrimination free workplace in the Minnesota iron mines. Her next film, The Vintner’s Luck, upcoming in 2009, will reportedly be a fantasy/romance, a marked departure from her previous work.
Which direction does your top ten take?
Michaelie Clark
Here are ten female directors who have shown us their view through the lens:
Patricia Rozema: She followed up quirky Canadian films White Room (1990) and When Night Is Falling (1995), a film about a woman’s sudden lesbian crush on a circus performer, with her own take on Jane Austen’s Mansfield Park (1999). She was widely criticized for her deviation from the text by incorporating parts of Austen’s own life into the film, but the result is a refreshingly modern and adult take on the story, with great performances by Frances O’Connor and Jonny Lee Miller.
When Night is Falling - Image courtesy of lovecanadianfilm.com
Jacqueline Audry: The most notable woman director to first emerge from post-war France, Audry’s films were a strange mix of traditionalist and feminist ideas. Her first feature film, Les Malheurs De Sophie (1946) was censored for political reasons and no longer exists. She later made a trio of films based on the novels of Sidonie-Gabrielle Colette, Gigi, Minne and Mitsou, the last of which was heavily censored due to scenes featuring extra-marital sex. In the middle of producing these films, Audry made Olivia, based on the life of Dorothy Bussy, which has been heralded as one of the earliest and most important cinematic depictions of lesbian desire.
Crossdressing in Le Secret du Chevalier d'Eon - Image courtesy of notrecinema.com
Jane Campion: Backed up her earlier successes with The Piano in 1993, a huge triumph for NZ born Campion, who became the second woman ever to be nominated for the Best Director Academy Award (the first being Lina Wertmüller for Seven Beauties). By then known for her portrayal of erotic fantasies, Campion went on to make an adaptation of Henry James’ Portrait of a Lady (1996) and Holy Smoke! (1999). Her film Bright Star, based on the life of John Keats and starring Abbie Cornish, is due for release in 2009.
Hunter and Paquin in The Piano - Image courtesy of altfg.com
Nicole Holofcener: Had a victorious directing debut with Walking and Talking, a critically acclaimed cult-hit starring Catherine Keener, before moving on to direct a range of episodes from television series such as Sex and the City and Six Feet Under. In 2001, she enlisted the services of Catherine Keener once more for her semi-autobiographical Lovely and Amazing, and again in 2006 for Friends with Money, gaining both critical and commercial success. Holofcener is now known for her unsentimental style and sharp insight into the everyday lives and trials of women.
Friends with Money - Image courtesy of wsj.com
Kimberly Peirce: Debuted as a film director in 1999 with Boys Don’t Cry, a powerful portrayal of the tragic life of Brandon Teena, an FTM transgender trying to live as a male in a small town in Nebraska. It was almost a decade later that Peirce released her second feature, Stop-Loss, detailing upheaval in the lives of a group of soldiers forced by the US government to return to active duty in Iraq.
Hillary Swank as Brandon - Image courtesy of virginmedia.com
Sofia Coppola: Daddy’s little girl has made her own name in Hollywood, being the third and final woman to date to receive an Academy Award nomination for Best Director. Coppola’s first feature, Lick the Star (1998) kicked off her reputation for themes such as adolescent isolation, introspection and fascination with the macabre, furthered by The Virgin Suicides which was released the following year. In 2003, Coppola hit the big time with Lost in Translation, before splitting audiences and critics alike with the decidedly stylised Marie Antoinette in 2006.
Marie Antoinette - Image courtesy of guardian.co.uk
Chantal Akerman: Known primarily for her dark comedy and deconstruction of political-sexual ideas in French-language films such as Je, Tu, Il, Elle (1974) Akerman, a self-taught Belgian film-maker, also has a wide range of documentaries under her belt as well as several romances, including Nuit et Jour (1991) and A Couch in New York (1996), starring Juliette Binoche and William Hurt.
From 'Jeanne Dielman...' - Image courtesy of thelifecinematic.com
Patty Jenkins: Has three films on her CV, the most prominent of which is Monster (2003) starring Charlize Theron as real-life prostitute-turned-serial killer, Aileen Wuornos. Jenkins, who also penned the screenplay, has been praised for her humanist insight and ability to communicate the intricacies of complicated emotional relationships.
Charlize Theron in Monster - Image courtesy of dailymail.co.uk
Gillian Armstrong: Was born in Melbourne and studied at the Australian Film and Television School before directing her first feature film – and the first Australian feature film to be directed by a woman in over forty-five years – an adaptation Miles Franklin’s My Brilliant Career in 1979, for which awards were won all round. In the nineties, Armstrong directed another AFI winning Aussie film, The Last Days of Chez Nous, and then two well-known adaptations, Little Women (1994) starring Susan Sarandon, Winona Rider, Clare Danes, Kirsten Dunst and Christian Bale, and Charlotte Gray (2001) starring Cate Blanchett, Billy Crudup and Michael Gambon. Armstrong’s most recent film is Death Defying Acts (UK/AU 2008), based on the life of Harry Houdini and featuring Catherine Zeta-Jones and Guy Pearce.
My Brilliant Career - Image courtesy of alsolikelife.com
Niki Caro: Another well-known female director hailing from New Zealand, Caro shot to fame in 2002 with Whale Rider, the story of a young Maori girl living her own legend as she struggles to find her place within her traditional, male-dominated tribe. Three years later, in a very different place but with a familiar theme of challenging gender roles, Caro directed Charlize Theron in North Country, the true story of Josey Aimes and her battle for sexual equality and a discrimination free workplace in the Minnesota iron mines. Her next film, The Vintner’s Luck, upcoming in 2009, will reportedly be a fantasy/romance, a marked departure from her previous work.
Whale Rider - Image courtesy of salisbury.edu
Which direction does your top ten take?
Michaelie Clark
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Comment by Morgan Bell
Deep Pencil
Current Business News
Movie Train
Artist Quirk
but some of the others i was not familiar with so thanks for putting together such an interesting post!
Monster, and Boys Dont Cry are two of the most powerful films about women ive ever seen - it was great to learn more about their directors
similarly Mansfield Park and Friends With Money are a couple of my favourite films, there is a feel-good element to them even though they deal with characters struggling to forge their identities, it feels good to watch women with such a strong voice who you can actually relate to
Comment by Michaelie
Flick Wit
I was just over at your place, and then I come back home and find you've left your calling card on the receiving table!
I agree about the sensuality factor, particularly with Campion, who often has excellent cinematography in her films which adds to the effect.
Patty Jenkins outdid herself with monster (as did Charlize Theron). Boys Don't Cry was extremely powerful, which is the main reason I was disappointed with Stop-Loss, after so long waiting for Peirce's next film.
I really love Mansfield Park, I have it on DVD and have watched in many times, undoubtedly because it is so feel-good without being formulaic or overly PG-rated, like some of those films can be. People had sex back then too!
Thanks Morgan
Michaelie
Comment by JohnDoe
Film & TV on DVD
A few of my favourite Female Directors:
Kathryn Bigelow (Near Dark, Point Break etc)
Mary Harron (American Psycho, I Shot Andy Warhol etc)
Sally Potter (Orlando, Tango Lesson, The Man Who Cried etc)
Claire Denis (Trouble Everyday, The Intruder etc)
Julie Taymor (Titus, Frida etc)
Comment by Michaelie
Flick Wit
I very much like Mary Harron but thought my other ladies were more in keeping with my all-round woman theme. Claire Denis would have been a good inclusion but I didn't think of her!
I'm not familiar with the others per se, though I realise now I have seen quite a few of those movies.
Thank you as always for sharing!
Michaelie
Comment by Ash
Australian Traveller
Flashes of memories
Wow you have really opened my eyes here. I`m not really into who directed what, but it`s like an author or painter... it`s their work... I never really thought if that until I read your post... I kinda take a while for things to really sink in... ermm....
Some rather noteable work here.... GO GIRLS.... it must have something to do with the feminine spirit and our emotions to put that added je ne sais quois into a film.
great post, enjoyed thoroughly and... memorable for my SLAP THE FOREHEAD moment of realisation!
Ash
Comment by David Jobling
Adelaide News | Your News
Sound Pet
Diane Keaton has made some terrific films as well, particularly Heaven (documentary) and from memory a particularly good episode of 'Twin Peaks' ...
I was disappointed in Gillian Armstrong's latest, it didn't quite cut it for me although it was a nice idea. I did enjoy My Brilliant Career and Startstruck; although I 'm under the impression Startsruck left so many scars in it's wake among the principal players in the film it's a shame - I believe there's still a rift between Jo and Gillian all these years later.
Never the less, the notion that there are no women directors around is hard to defend these days, not quite a balanced proportion but better than it was (and before) in the 19-Seventies and thanks are due to plenty of women who took a heap of abuse for asserting themselves in the hard core main stream film industry.
Comment by Bryn
Horrorphile
Maya Deren, whose Meshes of the Afternoon is a brilliant example of surrealist cinema, was an extraordinary voice. Liliana Cavani was also pretty interesting (The Night Porter).
Comment by Mountain Fog
Infognito
Well, I actually knew Gillian Amrstrong, before she made her first feature film. I met her on a small low budget movie a family member of mine was working on. She was a lovely smiley person and I am glad she eventually made it to the big time.
Sadly, the director of that small film, did not 'make it' overseas. He had a lot of talent, but, one has to sell oneself, marketing and attitude is often the clincher to getting finance, and networking, menaing here in Oz, one has to suck up BIG time, to get on the small almost private, certainly nepotisitic funding wheel.
So, Gillian gets my vote, and I like Sofia Coppola, I think Lost in Translation was great, pity about her frock drama, they are always dangerous, big money to make and can appear boring, so punters won't spend a penny to find out. Still, I look forward to seeing what she makes next.
cheers
fog
Comment by Cibbuano
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Also, Mira Nair is incredible, if you've seen "Monsoon Wedding" and "Kamasutra", you'll understand the powerful sense of culture that she keeps in her films.
Comment by Michaelie
Flick Wit
I have a strange view of Barbra Streisand and particularly of Diane Keaton, where I can see that they have talent but I don't feel it, as such. I'm not fond of either of them, thought they always leap out at me.
Death Defying Acts doesn't appeal to me, but I very much admire Armstrong's earlier work, especially My Brilliant Career. I appreciate the trivia re: Starstruck and Jo Kennedy! I didn't know that.
Thanks for the thoughtful comment David!
Michaelie
Comment by Michaelie
Flick Wit
You duffer. One of those moments - I'm sure I can relate.
I wholeheartedly concur with this:
Not that men can't or don't do this, but there is another element there, something ephemeral but definitely present. Interesting fact - when I was doing a bit of research for this post, I realised there were quite a few films where I didn't know the identity of the director but had always half-assumed it was a woman, for no stand out reason. I'm sure I have had plenty of exceptions to that, but it really struck me in light of this post.
Thanks Ash!
Michaelie
Comment by Michaelie
Flick Wit
I will have to keep a look out for those last two. I am not familiar with them, and your recommendations have been worth the effort in the past.
Thanks for coming by!
Michaelie
Comment by Michaelie
Flick Wit
You always have the most interesting anecdotes!
I must say Gillian Armstrong does seem quite lovely, and puts a genuine tender-hearted touch in a lot of her films.
I think you are right about the hit and miss element of films relying primarily on grand styling and the incongruous quirks of modernity. It has been done before and quite successfully, but I think the audience has to at least be conned into thinking there is more!
I will be interested to see what Coppola comes up with next also. It's a bit of a mixed bag she's swinging at the moment.
Merci beaucoup, Monsieur Fog!
Michaelie
Comment by Michaelie
Flick Wit
I haven't seen Monsoon Wedding but have seen Kama Sutra and a couple of others... I didn't really like Vanity Fair.
She made a telefilm with Naveen Andrews I want to track down someday, as I am a big fan of his. Mira Nair is an excellent addition.
I only know Suzanne Bier's name by Things We Lost in the Fire, which I haven't seen yet.
Thanks Cibb!
Michaelie
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Comment by Janet Collins
The Social Critic
Janet Collins Blog
Thanks for all the info. Interesting post.
Janet
Comment by Lara M
Love Speaks
I like Sofia Coppola's work too. I like how she views scenes differently and that she dares to do it differently...
Also her choices for the soundtracks of 'Marie Antoinette' and 'The Virgin Suicides' were brilliant!
Comment by Michaelie
Flick Wit
It was quite enlightening for me too, as I got going. A nice reminder, I think.
Cheers
Michaelie
Comment by Michaelie
Flick Wit
Am not familiar but am now intrigued...
Stay tuned.
Comment by Michaelie
Flick Wit
Did you have a sense of a female at the helm? I agree with those two films, they kind of repulse you while drawing you in - hard to remain unmoved at any rate.
Thank you!
Michaelie
Comment by Michaelie
Flick Wit
I too like The Piano, and I think it's one of Hunter's best as well. Something to do with her lack of speech?
It's funny how sometimes learning about the background of a film, or who was involved and how it came about, after having already watched it, can affect our perception. Though sometimes it just means things make more sense.
Thanks!
Michaelie
Comment by Michaelie
Flick Wit
Yeah I wouldn't say she always gets it right, but at least she's having a go, and I think she hits her mark more often than not. Or maybe a different mark to that she was aiming for, but a mark all the same.
Thanks for the compliment. I would do a little blushing smiley face, but I don't know how. Lol.
Michaelie
Comment by Michaelie
Flick Wit
I never knew I was so damn quotable.
Marvellous.