You Can’t Get Rid of the Babadook

In the opening scenes, “The Babadook,” appears to be another child possession thriller with the primary question being whether the child is troubled (a bad seed) or whether supernatural forces are at work. Writer/Director Jennifer Kent masterfully creates a chillingly claustrophobic home atmosphere capable of attracting the family's greatest fear, The Babadook.

While grieving the death of her husband, Amelia (Essie Davis in an Oscar worthy performance) struggles to raise a son with behavioral issues. Since the tragedy, her son Samuel’s (Noah Wiseman) childhood fears have intensified. Checking for monsters under the bed and in the closet has become a nightly ritual. The situation gets worse when a children’s Gothic picture book called, “Mister Babadook,” pops up. Assuming that it is a story about coping with the childhood fear of monsters under the bed, Amelia begins reading it to Samuel. The director takes this familiar domestic scene and infuses it with a sense of dread. It soon becomes evident that there is no happy ending in this bed-time tale. The storybook child doesn't make friends with the monster, but understands that it is here to stay. “If it’s in a word or it's in a look, you can’t get rid of the Babadook.”

The book unleashes an evil being that only Samuel can see. “I’ll kill the monster when it comes,” he tells his mom, “I’ll smash its head in.” He constructs a crude trebuchet to protect them. As his behavior becomes more erratic and violent, mother and son become isolated from family, friends or any kind of support system. Tired to the bones, Amelia grows seriously depressed, trapped in this impossible situation with a strange child she doesn't understand. The movie breaks an industry taboo by showing the darker side of motherhood – the idea of a mother resenting or disliking her child.

This is particularly unsettling for the mothers in the audience who have been deprived of sleep by a sick or colicky baby. As mothers, we are suppose to put on a brave face for our children. But when you are depressed, you are not thinking rationally. You are barely able to hold it all together. There are times when you are so utterly exhausted that you don’t feel anything, much less love for your screaming, demanding infant. You feel shame because mothers are always supposed to be strong for their children, lovingly sacrificing their own needs to protect them. What makes this horror story groundbreaking is that we get a rare glimpse into the mind of the female protagonist as she is caught in this downward spiral of grief and depression. The tension builds as Amelia, trapped by motherly duty, is pushed beyond her limits, becomes angry and completely loses it. The realization that it can happen to us, makes it all the more harrowing. 

Writer/Director Jennifer Kent

Writer/Director Jennifer Kent shared her objective in making a horror film. “I think where horror excels is when it becomes emotional and visceral. It was never about, ‘Oh I wanna scare people.’ Not at all. I wanted to talk about the need to face the darkness in ourselves and in our lives. That was the core idea for me, to take a woman who’d really run away from a terrible situation for many years and have to face it. The horror is really just a byproduct.”

I was blown away by this film. I left the movie theater still trying to process it. I asked a horror fan in the lobby what he thought of it. He said it wasn't really his kind of horror. I wondered why. Certainly, there weren't the blood and guts of a slasher flick, but there were plenty of jumps and starts. And I felt a lingering sense of dread throughout. He said he preferred things more black and white. Good vs. evil. That was one of the things I liked about it – that it wasn't that simple. It required reflection on the part of the audience. Even the monster’s origin wasn't painted out for us. The horror comes from the tragic situation – how their grief unhinged the little family as they became increasingly isolated.

Kent forgoes shocking violence in lieu of artistry and delving deeper into authentic emotions. She pushes boundaries by showing us the inner world of a female protagonist and cracking open a societal taboo by shining a flashlight on the dark side of motherhood.  She explores the themes of loneliness and isolation and shares how to cope with that isolation by facing our dark side together.

Movie blessings!

Jana Segal 

www.reelinspiration.blogspot.com 

Look out for my review: "A Girl Walks Home Alone at Night," by Ana Lily Amirpour.

Savoring "The Lunchbox"

“The Lunchbox” is a breakthrough film for India because it steers clear of the usual showstopper musical numbers and emoting melodrama popular in Bollywood productions. Instead, it delivers a taste of bitter-sweet “slice of life,” spiced with pinches of humor. Multiple layers are delivered in the tiffin lunchbox.

Director/Writer Ritesh Batra started off doing research for a documentary on the Babbawala, the 125 year-old tradition of delivering tiffin lunches from homes and restaurants to the work place. The lunchboxes represent the countless generic Mumbia workers who cram onto trains to commute to their jobs every day. In fact, the lunchboxes make the same commute. Famous for its efficiency, it is said that only one in a million lunchboxes is ever lost. That story is told in, “The Lunchbox.”

Ila (Nimrat Kaur), a lonely housewife, takes her auntie’s advice and recipe (shouted down from the apartment above) to win her husband’s love by sending a very special meal in his lunchbox. When it comes back empty, Ila anxiously awaits his return. When he says that it was OK, that the cauliflower was very good; she realizes that someone else has eaten the meal and sends a note thanking the stranger for the compliment of “licking it clean.” She also sends along her husband’s favorite dish. The lunchbox is delivered to Saajan (Irrfan Khan), a grouchy widower, who only wants to be left alone until his imminent retirement. He uses the excuse of going to lunch to avoid teaching his eager protégé (Nawazuddin Siddiqui). The lunchbox is returned empty with a note saying only that there was too much salt. Auntie (the voice of Bharatic Achekar) isn’t having any of his rudeness, and sends down a basket full of hot chilis to include in the next day’s lunch.

Auntie’s little lesson succeeds in teaching him empathy for others. To relieve his burning mouth, Saajan buys a banana from a street vendor and notices that other employees can only afford a banana for lunch. When he sees that his pesky protégé only has a banana and apple for lunch, he ends up sharing his precious lunch with him.

Is it a miracle or just an error that the lunchbox was delivered to the wrong address? It is certainly a miracle that these two lonely people, lost in the modern world, connect over a good meal and details of their lives scribbled on scraps of paper. The director sets up hints of a miracle with magic realistic flourishes - like the fly that connects their two worlds. In the scene transition, the director cuts from Saajan swatting the pesky fly in the marketplace to Ila swatting one at home.

This same device is used with ceiling fans. Ila tells how Auntie’s husband had been in a coma for 15 years. One day he woke up and started staring at the oriental ceiling fan. Ever since he has stared at that fan all day, every day. He wakes up in the morning and stares at the fan. One day the power goes off causing the fan to stop and uncle’s heart slowed down. Auntie believes it is the fan that keeps him alive, so she has a generator installed that day. As Saajan reads about it, the power goes off at work and all the ceiling fans stop. It is a shared metaphor for being trapped in a meaningless existence. “Uncle Deshpande stares at his fan. My husband stares at his phone as if nothing else exists. Maybe nothing else does.” Saajan writes back that things have changed since her uncle was a worker. “Everyone works so they can have what everyone else does. If Mr. Deshpande woke up and went to work these days, he would go back to his ceiling fan.” 

The rush-hour commute represents how people are too busy working to enjoy the simple pleasures of life. Their motivation flashes by on billboards – like the billboard that honors those who excel at the university. But if you pause to look closer, you will see that the honorees don’t look happy. Everyday, the lunchboxes commute like the workers. This lunchtime ritual is the highlight of their day when workers get a taste of home or at least of the old ways. The miraculous appearance of that special lunch nudges Saajan out of his solitude. His protégé’s expression of pleasure for the wonderful lunches teaches Saajan to appreciate them too. During the crowded train commute, the protégé finds a way to enjoy more time with his girlfriend by cutting the vegetables for their dinner.

When things become unbearable with her distant husband, Ila writes Saajan about moving to a place her daughter heard of in school. She shares her fantasy with Saajan. “In Bhutan everyone is happy. They don’t have Gross Domestic Product, only Gross National Happiness.” Saajan tells his protégé that he is thinking of going to Bhutan, rather than the retirement town of Nasik. His protégé responds that he has only been to Saudi Arabia, but, “Sometimes the wrong train will get you to the right station.”

This time the wrong train delivered “The Lunchbox” to the right station. And it was delicious. 

Movie blessings! 

Jana Segal 

www.reelinspiration.blogspot.com

Why do I do what I do?

You could say that I started attending AIVF (Association of Independent Video and Filmmakers, now IFA) with the goal of finding an indie filmmaker to produce my screenplay. But what I found were indie filmmakers anxious to produce their own scripts, so I helped develop them.  Meanwhile, I saw a need for more advanced training for Tucson Filmmakers, so I organized workshops. I got caught up in helping our film community grow.

Now here’s the part that drives people crazy… It wasn't about the money. In order to provide workshops that were affordable enough for Tucson filmmakers, I couldn't pay myself. Did all this “networking” lead to paid jobs? No. I spent hours, then years, promoting films with my reviews, organizing film contests and networking events. I didn't make any money, but it was rewarding.

In this capitalistic society it seems the only thing people value anymore is the pursuit of money. I know how blessed I was to be a stay at home mom while developing my art. But it is really heartbreaking when your own children are disappointed in you because you’re not more “successful” by society’s standards. They don’t seem to  value my role as a mother. One question I hear a lot is, why aren't there more successful women filmmakers?  I can’t speak for anyone else, but for me some things are more important than money:  living a full, balanced life, raising creative children, building a film community, empowering filmmakers to make meaningful films, and writing (and sometimes directing) my love projects.

How come I never succeeded in getting my screenplays produced? Perhaps, between being a mom and pursuing my other passions, I didn't have the single-minded ambition needed to sell my script. Or perhaps it was because I wasn't willing to write something more commercial. All the stories I chose to write were love projects.  I never could wrap my mind around writing high concept movies for money.

One of my first love projects was, “Walking with Grace,” about a sweet elderly couple I had taken care of while attending grad school. When Grace’s husband couldn't deal with her mind deteriorating from Alzheimers, I moved in full-time to allow them to spend their last days together in their home. This story was very dear to my heart.

I spent an embarrassingly long time working on it. One reason was that people thought my story was depressing.  I workshopped it at the Frederick Douglas Creative Writing Center in New York City; writing draft after draft, trying to make it more upbeat. But what it came down to was that people couldn't understand why a young woman would sacrifice her life to take care of “strangers.” What was so hard to understand? I loved them!  I finally did a major rewrite changing my character into their granddaughter.

And I did shop it around. For years. I researched possible actors and production companies.  I pitched it at screenwriting conferences. I made phone calls.  I sent off query letters. Even got a hand-written letter from Hume Cronyn explaining how the story was too depressing because it hit so close to home. People suggested that I put it away and work on something more commercial. They said that once I had a big hit, I could parley that into the power to get my love project done.  I pitched it to the perfect producer - the producer of the family drama “Christy.” He made a special effort to encourage me. He said that it was good writing, but that no one would do a film about old people. (I still cringe at my lack of determination as I watch numerous Alzheimer movies flash across the screen: “Away From Her,” “Savages,” “Amour,” my favorite, “The Notebook," and the recent, “Still Alice.” It’s practically become a genre!)

At least I had the rare opportunity to see my screenplay performed as part of the staged-reading series at DamesRocket Theater. I watched, in the sold-out theater, as professional actors gave full-out emotional performances. A 50 year-old man was moved to tears because it reminded him of his father. That experience was so satisfying that I was finally able to put the script away and start concentrating on something new. Someone suggested that I might have a better chance selling the script if I adapted it into a novel (they were onto something there), but artistically it was time to move on.

I critiqued my mom’s (Lorna Kerin Beall) historical fiction book, “Model-T Biscuits,” and helped her draft a cover letter to market it. I even pitched it at local writers’ conferences when she couldn't afford to attend. Eventually, I was inspired to adapt this cherished family story to the screen. It was really a love project working with my mother and staying true to her vision. I think people could feel the love as they read it. We ended up winning first place at the Santa Clarita Family Film Festival and the Moondance Film Festival.

My mom, Lorna Beall, and me

 When Julianne Moore won an Oscar for her portrayal of an Alzheimers patient in, “Still Alice,” my boys asked why don't I sell, “Walking with Grace.” I just shook my head and smiled. I think Best Foreign Film winner, “Amour,” and, “Still Alice,” have it covered. But in this day when paying for defense is favored over healthcare or housing, when big business trumps the environment, we need more movies with themes of giving and responsibility. Maybe there’s hope for “Grace,” yet.

So I continue to write my love projects and encourage others to do the same.  Because, like the Dali Lama said, “The planet does not need more ‘successful people.’ The planet desperately needs more peacemakers, healers, restorers, storytellers and lovers of all kinds.”

Go ahead. Ask me why I do it.

One word...Love.

"Chef" and "St. Vincent" Serving Up Saintly Fare

So many films, so little time. While I was compiling my list of the most inspiring films of 2014, I discovered that I had neglected to review any comedies. (Really, can you blame me with redundant studio offerings such as, “Dumb and Dumber to” and “Horrible Bosses 2?”) Where were the all the humorous independent films? Skimming through the movies of 2014, I uncovered two charming indie comedies that were barely blips on my radar: Jon Favreau’s, “Chef,” and Theodore Melfi’s, “St. Vincent."

I had mixed feelings about seeing, “St. Vincent,” because the movie poster made it seem sorta cheesy and cheap. Perhaps the marketing team thought pictures of the stars would sell it. Perhaps they didn't want to give too much away. To tell the truth, I have been struggling with the same problem. How do you promote a simple story without giving away all the comic surprises? The trailer shows Bill Murray as a hedonistic, anti-social grouch who his tired, stressed-out neighbor (Melissa McCarthy) hires to babysit her son (Jaeden Lieberher). As we watch Vincent’s inappropriate, selfish behavior we can’t help wondering how he ever earned the title, “St. Vincent.” The movie doesn't make excuses for Vincent’s bad behavior. (Though he has heard, “It is what it is,” in response to his misfortunes one too many times.) But through the boy’s eyes we discover the good in him as well. (It's not hard to like one of Bill Murray's richest performances. I think he should have been nominated for an Oscar for this one.)  Somehow this old curmudgeon brings out the good (however begrudging) in others. Perhaps his calling as a saint is to bring out the humanity in others.

I had a similar problem with, “Chef” - how to serve what is fresh about the chef’s creation without making it seem like serving leftovers? How about a small sample to whet your appetite? Somehow in his quest for success, Chef Casper (Jon Favreau) has lost his passion for food and life. The restaurant owner forces him to cook his safe, signature dishes for a famous food critic. When the critic pans the uninspired meal, the chef completely loses it. The confrontation goes viral on YouTube. He sets off to rediscover his passion and creativity by opening a food truck. The leisurely cross-country trip gives him a chance to finally be a father to his son (Emjay Anthony).

It's easy to chuckle at the bumbling antics of these flawed men, but what really chokes you up is how much father (or father figure) and son really need each other.

Movie blessings!
Jana Segal
reelinspiration.blogspot.com

Celebrate "Women in Film" at TUCSON LUNAFEST!

TUCSON LUNAFEST 2015


TUESDAY, MARCH 10 AT 7:00PM at the LOFT | ADMISSION: $10 • STUDENTS: $5

To purchase tickets in advance call WOSAC at (520) 621-5656. Advance tickets are not available at The Loft Cinema. Presented by WOSAC and The University of Arizona Department of Gender and Women’s Studies. Featuring an exciting raffle for fabulous prizes, including jewelry, gift certificates to fine dining and services, and the traditional, handmade, annual Lunafest quilt! Raffle tickets are $5 each or 3 for $10.

Proceeds from Tucson Lunafest 2015 admissions and raffle ticket sales will benefit WOSAC (The Women’s Studies Advisory Council) and the Breast Cancer Fund.

Get ready for an entertaining and enlightening evening of short films made by, for and about women. This annual nationally-touring film festival brings the best short films from around the world together for one special night of cinematic excitement! This year’s program of EIGHT brand-new films will compel discussion, make you laugh, tug at your heartstrings and motivate you to make a difference in your community. Incredibly diverse in style and content, Lunafest is united by a common thread of exceptional and inspiring storytelling – by, for and about women.

This year’s films at LUNA FEST:

A Good Match
Ann and Alex have split up, but does that mean it’s over with Alex’s mom, too? Ann wants to give the relationship another try.

Flor de Toloache
A group of women daringly challenge gender social norms as an all-female mariachi band.

Miss Todd
In 1910 New York, Miss Todd works to understand the principles of flight, but she has more than gravity holding her down.

Tryouts
Being a teenager isn’t easy, especially for Nayla, a Muslim American girl who wants to join her new high school’s cheerleading squad.

Chicas Day
Today is a girls’ day out, everything is allowed. But don’t forget that this is just a game …

Lady Parts
In an industry dominated by men, Lady Parts Automotive brings a woman’s touch.

Tits
A story about feminine exploration.

Viva
A documentary portrait of Cornwall’s grandmother of punk, or, how to be a rebel at 82.

"Whale Rider" Retelling Our Stories to Include Heroic Girls

Writing about, "McFarland USA," brought to mind Niki Caro's enchanting film, "Whale Rider." I was delighted for a chance to finally review the film that planted the seed of thought that became Reel Inspiration.  (I started  Reel Inspiration to promote diverse films that inspire, challenge, empower, and create understanding.)

As I mentioned in my previous review, Niki Caro is drawn to projects from cultures unlike her own. As an outsider and a “pakeha” (a New Zealander of European descent), Niki studied the Maori language for a year before approaching the Ngati Konohi tribe about adapting their beloved book, “The Whale Rider” (by Witi Ihimaera) to the screen. Niki was only interested in doing the story if it was in collaboration with their community. When she met with Maori leaders, she spoke in their native tongue about what a privilege it would be to bring their story to the screen. The tribe elders took special care in studying her previous work and blessed it before starting production.

Director Niki Caro

In an interview with Ryan Mottesheard of Indiewire, Niki elaborated, “And I think they felt very satisfied that the film, their film, was in the hands of a filmmaker, somebody who could actually get it up on the screen. Somebody who was absolutely there to serve their story.”

As promised, Niki worked very closely with the community. A Maori adviser was always present during the production. What resulted was a movie that reflected their culture and traditions in a way that they could take pride in.

“Whale Rider,” is a retelling of the Maori legend of their first chief Paikea, the whale rider. Ever since the time when Pai’s (Keisa Castle-Hughes) ancestor Paikea came to Whangara on the back of a whale, the first born son in every generation of her family has become leader of the tribe. Disappointed by his artistic son, Pai’s grandfather Koro (Rawiri Paratene) sets his hopes on Pai’s twin brother to lead the tribe out of the darkness of the modern world. Devastated by her brother’s death in childbirth, Koro blames Pai and wants her sent away. But Koro’s wife (Vicky Haughton) refuses, insisting that he acknowledge his granddaughter. Raised by her grandparents, Pai bonds with her grandfather over the ancient teachings. At thirteen, she excels at reciting the legend and can hear the whale songs of her ancestors calling her. But her grandfather is so invested in the tribe’s patriarchal traditions that he can’t see it.

The signs are all there. While working on their boat, Koro uses the rope that starts the motor as a metaphor for their family legacy. Each thread that makes up the rope is one of their ancestors. “Woven together they make us strong.” When he tries to attach the rope to the motor, it breaks. But Pai fixes it by tying all the pieces together. Excited, she calls out to her grandfather, “Its working! It’s working!” But instead seeing this as a sign of her gifts as a leader, he sees it as a threat to their culture. Instead of encouraging her tenacity, he admonishes her, “I don’t want you doing that again. It’s dangerous.” (This is akin to fathers who “protect” their daughters while encouraging their sons to take risks and grow.)

When it becomes clear that his son will not give him a male heir, Koro tells him to go and take his daughter Pai with him. But while driving up the coast, Pai hears the whales calling her back. She knows she is needed at home. When she returns, she finds that her grandfather has set up a cultural school for boys in hopes of finding the tribe’s next leader. Her wise grandmother honors Pai by having her lead the welcoming song. But Koro insists that she sit in the back because this is for the boys.

When Kora catches Pai defeating a boy with the Taiaha (fighting stick,) she is sent to live with her uncle. Her grandfather blames her for the tribe’s troubles. He claims the problems started when she was born and now she is making it worse by interfering with the boys’ schooling. He trains the boys to be warriors, but that isn’t what the tribe needs. The tribe needs Pai’s gifts to tie them together as a community, to encourage each of them to use their strengths to benefit the whole.

Creating the character of Pai was an act of love by novelist Witi Ihimaera. He wrote, "Whale Rider," in response to his daughter's complaint that the boys were always the heroes. “Whale Rider” is more than an inspiring movie for girls. It shows us that a father can demonstrate strength by empowering his daughter. And, like the threads woven together to form a solid rope, our community is strengthened when we all share our unique gifts.

Movie blessings!
Jana Segal
reelinspiration.blogspot.com

Watch the complete movie, "Whale Rider" on Hulu. 

"McFarland USA" Cultivating a New Kind of American Dream

After watching the trailer for “McFarland USA,” I wasn't in a hurry to see the film since it was so similar to, “Spare Parts,” a movie I had recently reviewed. Until… I discovered that it was directed by Niki Caro, who helmed one of my all-time favorite inspiring films, “Whale Rider.”

I couldn't help wondering how a film so different in style and tone reflected Niki’s vision as a filmmaker. What was the common thread between “Whale Rider,” the re-imagining of a Maori legend about a teenage girl challenging the tribe’s patriarchal traditions and, “McFarland USA,” a seemingly formulaic sports flick about a coach encouraging a group of poor migrant Mexican-American farm workers to become champion runners? 

I settled into my theater seat and sighed as, “McFarland USA,” opened with a familiar plot device. The star football player defies the coach’s authority. Coach White loses it and hurls a cleat at the locker near the teen - only it bounces off and hits the teen in the face. The coach’s weakness is set up very economically to prepare for the inevitable character arc (growth). When the coach and his family drive into the poverty-stricken Mexican-American farming town of McFarland, it is clear that this is his last chance. As his daughter looks out of the window, she thinks they got off at the wrong exit: “Are we in Mexico?” I caught myself rolling my eyes when the Idaho family becomes unhinged by the idea of eating the foreign Mexican food. (Really? Lol. This is America!)

Director Niki Caro 

At school, a fellow teacher tries to recruit Coach White (Kevin Costner) for a community project by delivering the obligatory speech about how these poor farming kids are invisible and live in a state of constant hopelessness (reminiscent of the “they are invisible” speech in, “Spare Parts.”) That hopelessness is symbolized by the prison across the street from the school. I wondered to myself, is there really a prison there or was that yet another contrived plot device?

Around the time the coach first notices a student dashing home, a miracle happens. We are introduced into the world of the migrant farm workers. Immersed in their culture, home life, and community, we (like the coach) start really caring about these kids.

While researching for this review, I read that director Niki Caro had been looking for a project with the same qualities as, “Whale Rider,” when Disney approached her about, “McFarland.” In an interview with Bryan Abrams she recalled, “Here was a story that was true, based in a real community, based on real people, and it offered me a way I could work as I had on,” Whale Rider,” which is to work with the community and with the people. Basically, all I do is light up what I think is beautiful.”

The part that interests this New Zealand-born director is working with communities unlike her own. “The way I work when it’s not my own culture is I try to be very accurate and faithful to the way lives are lived and not impose my will. I was very keen to portray the Mexican-American culture, but I realized that we made a very American movie, a profoundly American movie that happens to have a lot of Mexicans in it.”

The migrant workers in McFarland epitomize the American Dream in their struggle to make a better life for their children. But they create their own version by balancing work, family and community. The opening set-up pays off as Coach White and his kin grow as a family and become a part of the community. The coach joins three of his runners for dinner to explain the advantage of running. But he ends up learning from them. Their mother gives him some enchiladas to take home and a lesson on being a family man. “How are you going to be a family if you don’t eat together?” She points out how her husband works hard for long hours, but is present every night at dinner with his family. Family is a priority.

The original McFarland track team with Kevin Costner 

The team learns something too. As coach and team gain a mutual respect, they also learn to respect themselves. Using the incredible strength it takes to work long hours in the fields, go to school, and then run 8-10 miles a day, they can accomplish anything. Inspired by their determination and heart, we root for them to win while we, in turn, learn the value of hard work.

It is clear in both, "Whale Rider," and, "McFarland USA," that Niki Caro's vision is cultivating community. By casting light on the customs and traditions of each community and its people, Niki cultivates a rich, fertile film experience that grows understanding.

Movie blessings!
Jana Segal
reelinspiration.blogspot.com

Watch, the complete movie, "Whale Rider." 

"Nebraska"

Last year's Best Picture nominee, opens with a police car picking up a dazed, disoriented old man trudging down the highway. His family is dumbfounded as the booze-addled, obstinate Woody (Oscar nominated Bruce Dern) keeps setting off on a 900 mile trek across, "Nebraska," to claim his bogus million dollar sweepstakes winnings.

Nobody seems to know why he is doing it. And Oscar nominated director Alexander Payne doesn't give any easy answers. Perhaps it’s to avoid his eminent morality. (He says that he doesn't have much time.) Maybe it’s a last ditch effort to do something with his wasted life. He seems to have little to live for being stuck in a marriage with a woman he doesn't even like. We don’t know how long he has been numbing himself with liquor, but it’s been a while.

All of this could be very depressing, but Payne gives us comic relief in the form of Woody’s ornery, long suffering wife (Oscar nominated June Squibb) as the foul-mouthed voice of reason, “I never even knew the son of a bitch wanted to be a millionaire. He should have thought about that years ago and worked for it.”

Woody’s responsible son (Will Forte) is called in to talk some sense into the old man. But when Woody won’t be dissuaded, his son sees a chance to bond with the father he never knew. He takes some time off from his meaningless job as an electronics salesman to join him.

We see the story through his son’s tired, exasperated eyes. Like him, we long to uncover some meaning in this cross-country road trip. Perhaps Woody needs to reconnect with his family roots. But there is no satisfaction in the family reunion. The image embedded in my mind is of the men in the family all sitting in the bland living room facing the television set. Even after their long separation, the two brothers barely relate to each other aside from some complacent muttering about which sports teams are playing.

We feel the son’s rising frustration as he attempts to find some redeeming value in Woody’s life. He asks his father if he is ever sorry that he married his wife. Woody answers, “All the time.” “But you must have loved her once?” Not really. It seems that Woody has settled for this life. The son becomes more agitated as Woody keeps running off to get sloshed at local dives, spouting off about his big windfall. Woody offers comfort his irritated son, “Have a beer with your old man. Be somebody.”

The story livens up when his wife and other son come to “rescue” Woody. As the family deals with unresolved issues and greedy “friends” and relatives in his hometown, we see a little bit about what made Woody, woody. It is genuinely touching to see Woody’s squabbling wife finally stick up for him, explaining why he doesn't owe these people a damn thing!

Payne paints a stark portrait of family responsibility and the silent isolation and resignation of rural America.

Movie blessings!
Jana Segal
reelinspiration.blogspot.com

"Nebraska," was also nominated for Best Screenplay (Bob Nelson) and Best Picture in 2014.

Oscars: Breaking into the Men's Club

OK. I’m gonna put it right out front and center (like Octavia Spencer's prominent seat at the Oscars.) This year there is not one film with a female lead nominated for Best Picture.

The male dominated academy doesn't seem to consider personal female stories of great enough importance to be nominated for Best Picture. They neglected to nominate, “Wild,” the empowering universal story of a woman’s journey for self-forgiveness, while testing herself on a grueling backpacking hike across the Pacific Crest Trail. Yet they nominated, “Whiplash,” the personal story of a young male drummer suffering for his art. “Boyhood,” the favorite to win Best Picture, is a personal story as well. But deserves attention for director Richard Linklater’s audacity in filming over the course of 12 years.

The Academy favors films about the accomplishments of great men – like this year’s inspiring nominees, “The Imitation Game,” and, “The Theory of Everything,” about a mathematician and scientist respectively. But where are women scientists or mathematicians and their world-changing accomplishments?

As a society, we need more biopics about these incredible women. It is important that their accomplishments be recognized. A few examples: Rear Admiral Grace Hopper has a destroyer named after her to honor her accomplishments including inventing the first compiler, and developing the first high level computer language. Rosalind Franklyn was instrumental in discovering the double helix structure of DNA for which her former collaborators Crick and Watson won the noble prize. This is one time I wish I was wrong. But I when I googled, “Women scientists in movies,” I found only lists of fictional scientists in SciFi films. Perusing the Best Actress nominations throughout the history of the Oscars, I found two movies about women scientists: “Madame Curie” (Marie Curie worked with physicist Pierre Curie to discover radium) back in 1943 and “Gorillas in the Mist” about Dian Fossey’s research with Mountain Gorillas in Africa. “Madame Curie,” was nominated for Best Picture, Best Actress (Greer Garson), Best Actor, and Best Cinematography, yet this accomplished biopic didn't win any academy awards. “Gorillas in the Mist,” was nominated for Best Adapted Screenplay and Best Actress (Sigourney Weaver) back in 1988.

Of course, great advancements don’t happen in a bubble. In the 1840s, Ada Lovelace worked on Charles Babbage’s early mechanical general-purpose computer, the Analytical Engine. Her notes on the engine include the first algorithm carried out by the machine. She is often described as the world’s first computer programmer.

Cooperation is one of the themes of, “The Imitation Game.” It took a team sharing their different strengths to break the code of the German Enigma cipher and win the war. It took military strategy, math skills, relationship strengths, and being able to see the whole picture. “Sometimes it is the people who no one imagines anything of who do things that no one can imagine.” Mathematician Alan Turing (Oscar nominated Benedict Cumberbatch) doesn't relate to the world like others do, but it is that difference of perception that allows him to create a machine to crack the enigma. No doubt Turing studied Ada Loveless’ work while at Princeton. That may be how he was able to recognize that Joan Clark’s (Keira Knightley) mathematical strengths would benefit the team. And it is also Joan who taught him to work together with the other team members in order to accomplish their goals.

The “Theory of Everything,” was based on the inspiring story of how Stephen Hawking, (Oscar winner Eddie Redmayne) was empowered and supported by his wife Jane (Oscar nominated Felicity Jones), and postulated the theoretical prediction that black holes emit radiation and researched a unifying theory of relativity and quantum mechanics while suffering from ALS disease that increasingly paralyzed him. While the movie doesn't cover the “Theory of Everything” or even Stephen’s scientific process in any depth, Director James Marsh illuminates the Hawkings' relationship and the world of science with spectacular poetry and wonder.

Now let’s get down to the Oscar snub. “Selma,” one of the best reviewed, most powerful films of the year didn't garner its director, Ava DuVernay, a Best Director nomination. (Read more about this in my previous review.) Like, “The Imitation Game,” it celebrates the accomplishment of a great man. But "Selma," concentrates on the community and collaboration. DuVernay realizes her vision by inviting the audience into the spirit of the Civil Rights movement from the point of view of its black protagonists. The movement (and resulting movie) was bigger than just one man. It was a community working together, and risking their lives, fighting for freedom for generations to come. DuVernay shows women as partners in the cause. Coretta Scott King enabled her husband to be the voice of the movement by supporting him financially while raising their children. Women and men lock arms and march bravely together.

While, "Selma," shows the effectiveness of collaboration and non-violent protest; "American Sniper," glorifies Chris Kyle as an indispensable, one-man killing machine. “American Sniper,” was produced to draw attention to the condition of vets returning from the war. That is certainly a noble purpose. But it is also a masterfully crafted propaganda movie (much like John Wayne's Vietnam War film, “The Green Berets," which wasn't nominated for an Oscar.) In, "American Sniper," there is no question that Chris Kyle was justified in killing every Iraqi because nearly every one of them was shown carrying a weapon. The theme of the movie is black and white. It is us against the evil terrorists. But what would you do if your neighborhood was occupied and soldiers were breaking into your house? I found it very disturbing when I started rooting for Chris to kill the evil terrorists. The film has already had its desired effect, as a Facebook friend commented, “We need to kill everyone of those evil bastards.” To me this is a misuse of the power of film.

I’m not ready to give up on the Oscars yet. The top runners for Best Picture: “Boyhood,”, “Birdman or (the Unexpected Virtue of Ignorance)," and, “The Grand Budapest Hotel,” all deserve their nominations.

It is a miracle that Linklater was able to pull off this unprecedented feat of shooting the same actors over the course of 12 years. No theme is imposed on, “Boyhood,” aside from memories projected over the passage of time. There is no big turning point that inspires the characters’ growth, just living through life’s daily struggles. This accumulates into something very moving over the course of the film and their lives.

Wes Anderson creates intricate details in the whimsical, quirky world of, “The Grand Budapest Hotel,” where the melancholy staff try to maintain bygone civility and loyalty amongst a backdrop of brutality, war and loss. The physical comedy is spot on and the action sequences thrilling and fun!

In Oscar-winning Director Alejandro González Iñárritu's, "Birdman (Or the Unexpected Virtue of Ignorance),” a comic book action star struggles to express himself as an artist, to find some relevance in his life, to prove that his life matters. It is a biting satire on the price of fame and how Hollywood clips the wings of its artists in their pursuit of profits.

All three films deserve their Best Picture nominations for brilliantly realizing their directors’ original visions. I just hope that next year the Academy chooses to empower women filmmakers by nominating them into the club.

Oscar blessings!
Jana Segal
www.reelinspiration.blogspot.com

OSCAR UPDATE:

Patricia Arquette won Best Actress for, "Boyhood" and gave an impassioned plea for equal rights for women in America.

The powerful performance of Best Song winner, "Glory," honoring, "Selma," along with the speeches by songwriters Common and John Legend moved many to tears.

Eddie Redmayne won Best Actor for, "The Theory of Everything."

Graham Moor won Best Adaptation for "The Imitation Game."

Alejandro González Iñárritu won Best Director, Best Picture and Best Original Screenplay (along with Nicolas Giacobone, Alexander Dinelaris Jr. and Armando Bo) for, "Birdman."

Congratulations to all the winners! 

Incredible Invisible Women Filmmakers

Women were among the first silent picture directors. Director Alice Guy-Blache is actually credited as the first to develop the art of  narrative structure. But when businessmen created the Hollywood Studio System, women directors seemed to disappear.

Alice Guy-Blache

Motivated by Ava DuVernay’s Oscar snub and the fact that less that 7% of the 250 movies made in the Hollywood studio system this year were directed by women, I decided to find out what happened to all the women filmmakers. I started by scrolling down the movies I had promoted on Reel Inspiration through the years including my annual “Most Inspiring Films” lists. Imagine my delight at discovering that three of the films listed in first place were directed by women. My all-time favorite Reel Inspiration film, “Even the Rain” (from 2010), was directed by Spanish actress/director Iciar Bollain. My favorite inspiring film of 2011, the documentary about horse whisperer “Buck,” was directed by animal advocate Cindy Meehl. Of course, 2013’s Most Inspiring Film “Wadjda” was directed by a Saudi Arabian woman named Haifaa Al-Mansour. This accomplishment is even more incredible because it was the first feature film ever shot in Saudi Arabia. In fact, she directed the first film EVER shot in Saudi Arabia. This accomplishment needs to be celebrated. Scrolling down the labels on my blog, I found other female filmmakers who directed powerful, inspiring films. These women’s names deserve to be known and their voices heard.

(UPDATE: "2014 Most Inspiring Films" included, ""Welcome to Me," "McFarland USA," "The Babadook," "Belle," and the film that inspired all those impassioned blog posts, Ava DuVernay's "Selma."  The 2015 list featured "Suffragette," and my number one choice, Deniz Gamze Ergüven's "Mustang." )

Ava DuVernay, Iciar Bollain, Haifaa Al-Mansour

After reading an article about gender inequality in Hollywood that asked, “Where are all the Women Filmmakers?” I conducted my own research to find out if there were, in fact, qualified women filmmakers and why they weren't being hired for high profile studio productions. I started by looking up the women directors mentioned on Indiewire’s best indie films and Sundance breakout hits lists on IMDB to discover which projects were in the works and to see if they were getting the same opportunities as their male counterparts. These lists led to more lists: best horror films directed by women, lesbian filmmakers, documentary filmmakers, spiritual cinema visionaries, showcase films for actresses… The more I looked, the more women directors I uncovered. Yes, there are women directors out there.

Jennifer Lynch

Why hadn't I heard of these women? Why weren't more of them household names? The main reason is that women filmmakers have a difficult time finding enough funding for publicity and are lucky to get even limited distribution. Without proper PR campaigns, they aren't even a blip on most film journalists’ or reviewers’ radar. One bloody example is Jennifer Lynch. After some devastatingly bad press on her first film "Boxing Helena" (when she was in her twenties), Jennifer has gone on to make some of the most intriguing, disturbing serial killer flicks: "Surveillance" and "Chained." Despite getting more PR than most female filmmakers, hardly anyone saw her films. Why? Because they had limited distribution.

Debra Granik

Women with breakout indie films aren't being hired for big studio productions like their male counterparts. A good example of that is “Winter’s Bone” director/co-writer Debra Granik.  Despite making $16 million on her small budget movie, being nominated for four Academy Awards (including Best Picture and Best Adapted Screenplay for Granik) and launching the phenomenal career of Oscar nominee Jennifer Lawrence, Granik has been unable to get a project green-lighted in the studio system. Meanwhile, her male contemporary, Noam Murro (his indie drama “Smart People” made $2 million less) went on to direct the high budget film “300: Rise of an Empire.”

Lexi Alexander

Studio executives use the excuse that female directors either don’t want to direct big action films or can’t handle the job. While directing a horror film is seen as proof that men are prepared to direct an action film, women horror film directors are overlooked. Another example that belies that theory is Academy award-nominated Lexi Alexander. Lexi is uniquely qualified to direct action films. She leveraged her experience as a Karate and kickboxing world champion to write and direct her engrossing Oscar-nominated short about professional boxer “Johnny Flinton.” (Heralded by reviewers as the most authentic depiction of boxing on film.) Her skills as a professional stunt-woman enabled her to orchestrate brutally real and thrilling fight sequences for her film “Green Street Hooligans.” She faithfully followed Hollywood’s formula for success. While Hollywood executives complained that female stories weren't “edgy” enough, her films were edgy. When they demanded sympathetic heroes, she gave them sympathetic heroes. And she made it work. Her films are brilliant. Unfortunately, this story doesn't have a happy Hollywood ending. When she was hired to direct the lesser-known Marvel comic “Punisher: War Zone,” she was promised a $30 million budget, but ended up with $20 million. Executives claimed that investors got nervous because she was a woman. So she had $10 million less to publicize a practically obscure franchise. She gave fans what they wanted by staying true to the source (violence and all). But when the movie wasn't a box office hit, they blamed it on her being a woman.

Let’s examine the excuse that women don’t want to direct action films. First, many of the 250 big studio productions aren't action films. The list includes comedies and dramas. All but three of the so-called “chick flicks” and “weepies” were directed by men. It is true that Oscar winner Kathryn Bigelow, the first woman ever to win a Best Director Oscar (for the war film“The Hurt Locker”), declined offers to direct the latest big action franchises. But it is absurd to think that this acclaimed director would choose to direct the latest Marvel Comic flick or big action sequel. Hasn't she earned the opportunity to direct a film that reflects her own vision – like the previous Oscar winners? (In all fairness, many renowned directors have found it so difficult to finance their vision in today’s corporate-run movie industry that they have started working in television.)

Scarlett Johansson

The recent success of female driven films PROVES that there is a market for films with female leads:

• Jennifer Laurence beat the competition, grossing $335,123,000 in “The Hunger Games, Mockingjay, Part 1.” 
• Angelina Jolie was “Maleficent” (penned by Linda Woolverton) at 8th place ($241,410,378).
• “Interstellar” blasted off to 16th place featuring a strong woman astronaut and scientist ($186,666,000) originally conceived by producer Lynda Obst with Professor of Theoretical Physics Kip Thorne.
•  “Gone Girl” Rosamund Pike slayed as the unhappy wife in 18th place ($167,628,577) while retaining author/screenwriter Gillian Flynn’s vision.
• “Lucy” captured 23rd place ($126,663,600) on Scarlett Johansson’s star power.
• Shailene Woodley shined in at 24th ($124,872,350) in “Fault in Our Stars.”
• Meryl Streep’s bewitching presence conjured up 25th place ($124,388,000) for “Into the Woods.” 
• “Tammy” showed off Melissa McCarthy’s strengths as a comedian/writer to earn 38th ($84,525,432). 
• Nappy-haired little girl “Annie” (starring Quvenzhane Wallis and co-written by Aline Brosh McKenna) found a home at 39th ($84,452,781). 
• “If I Stay,” starring Chloe Grace Moretz and adapted by Shauna Cross from the novel by Gayle Forman, hung in at 52nd ($50,474,843). 

While this list shows progress for lead actresses, it must be noted that NONE of these movies were directed by women. Why aren't more movies starring women, directed by women? Why are so few of the best-selling novels written by women, adapted to the screen by women?  Six of the movies on the list above were written (or co-written) by women. But keep in mind that this list was taken from the top 52 hits from Box Office Mojo's list of 100 movies (as of  2/16/15).

Kathryn Bigelow

While it’s good to show that women can excel at directing high budget genre movies (Angelina Jolie joined the ranks in 26th place at the box office with the war film “Unbroken”), I don’t think female directors should have to direct male-centric movies in order to get funding. They should be able to make movies that reflect their vision. Many female directors, such as Debra Granik, are opting to produce their own low budget shorts or documentaries while awaiting studio deals. It is important for the health of our nation (even the planet) that women’s voices be heard. I am proud of Kathryn Bigelow for forgoing financial gratification to create projects that reflect her own vision and benefit our planet. She is currently collaborating with Megan Ellison of Annapurna Pictures (who also worked on “Zero Dark Thirty”) on an adaption of Anand Giridharada’s bestseller, “The True American.” She leveraged her clout to produce the animated PSA “Last Days,” drawing attention to the connection between elephant poaching and terrorism. Bigelow elaborated, “For me it represented the diabolical intersection of two problems of great concern – species extinction and global terrorism. Both involve the loss of innocent life, and both require urgent action.” Bigelow announced on January 30, 2016 that her next film would be a drama about the 1967 Detroit Riots.

Where are all the other female directors? Women are making films....

Jennifer Yuh Nelson

Despite the fact that the first animated film EVER was created by a woman, Lotte Reiniger, women are finally breaking into the "boys' club" of animation. Brenda Chapman became the first woman to direct an animated feature at a major studio (Dreamworks) with "Prince of Egypt" in 1998. She went on to co-direct the Oscar winning "Brave" in 2012. Storyboard artist Vicky Jenson directed "Shrek." Jennifer Lee parlayed her scripts "Wreck It Ralph" and "Frozen" into a directing gig for "Frozen." Jennifer Yuh Nelson was the first female to be sole director of an animated feature (the mega-hit "Kung Fu Panda 2.") She is currently working on "Kung Fu Panda 3."

This year 36% of the films at Sundance were directed by women. So what became of the female directors who had breakout hits in the past? Gina Prince-Bythewood shines a light on celebrity with "Beyond the Lights." Amma Asante overcame daunting challenges to get her black heroin "Belle" on screen. Some have feature films coming out in 2015. "Twilight's" Catherine Hardwicke helmed "I Miss You Already" and is set to direct the $50 million dollar epic "Loulan." Patricia Riggen ("Under the Same Moon") directed the true story of  "The 33" miners trapped underground. Andrea Arnold ("Fish Tank") is filming "American Honey." Oscar winner Sofia Coppola ("Lost in Translation") is in post production on "A Very Murray Christmas." "Whale Rider's" Niki Caro directed Disney's "McFarland USA" and is currently shooting "The Zookeeper’s Wife." Celine Sciamma ("Tomboy") has "Ma vie de courgette" coming out in 2016.  Amma Assante is currently shooting the provocative racial drama "A United Kingdom." Some have produced their own short films while seeking funding for feature projects (Mira Nair, Lynne Ramsay, Mary Harron). This plan has proven successful for Mary Harron  who announced on February 1, 2016 that she is collaborating with "American Psycho" scribe Guinevere Turner on the Manson-Followers film "The Family."

Darnell Martin

MANY acclaimed female directors have found better opportunities in television including: Darnell Martin, the first black woman to direct a studio production ("I Like It Like That"). Oscar winner Jane Campion ("The Piano") co-created the thriller masterpiece "Top of the Lake." Lesli Linka Glatter, Jill Soloway, and Lisa Cholodenko swept the TV categories at the DGA awards this year. Happily, actress-turned-director Lake Bell ("In a World") is currently in pre-production for "What's the Point?" after directing television. Other qualified women directors are choosing to make documentaries or low budget indies to stay true to their vision (Kelly Reichardt, Marjane Satrapi, and Julie Dash to name a few.)

The problem is that the films made outside the studio system aren't being seen because they don’t have money for marketing and distribution. Right now, Hollywood is run by a handful of giant corporations that are only interested in testosterone-driven megahits that have international appeal to show a huge profit to stockholders. Businessmen are running the show. So they keep regurgitating the same tired formulas that have worked in the past. As a result, movie attendance has gone down.

Recent box office receipts prove that there is a demand for female driven films. Why not put some of that money back into smaller films with a fresh perspective? From a business standpoint, they cost less to make, so they are less risky.  "Winter's Bone," independently financed by the filmmakers when their investor fell through, was produced for just $2 million and earned $14 million above that. That's 7 TIMES its budget. That's just good business. 

"Winter's Bone" by Debra Granik

How do we encourage studios and investors to finance and distribute films by female directors? First, do a little research and discover your favorite women directors. Seek out their films. Then send Hollywood a message by attending them on opening weekend. Share them with your friends. Repeat.

Meanwhile, I will continue writing articles on the subject and seeking out female filmmakers to promote on Reel Inspiration. Look for my reviews celebrating two women making new strides in horror: Ana Lily Amipour ("A Girl Walks Home Alone at Night") and Jennifer Kent ("The Babadook.") PLEASE, SHARE! 

Check out the many strong female characters in my "Most Inspiring Films 2015."

Movie blessings!

Jana Segal
www.reelinspiration.blogspot.com

For more information on Women Filmmakers:

The best and bravest article I've found clarifying the issue: The Women in Hollywood Speak Out.

Watch the video: "Celluloid Ceilings: Women Directors Speak Out"

 "10 Female Directors Who Deserve More Attention from Hollywood."

"100 Women Directors Hollywood Should Be Hiring"

Research that proves Hollywood is still a "man's club."  

Ava DuVernay expands distribution cooperative for women filmmakers and filmmakers of color.

This year a writers lab for women over 40 was established. 

"Why 2015 Film and Television Was a Major Win for Feminism"

"Watch: A Celebration of the Top-Grossing Women-Directed Films of 2015"

Stephanie Allain, who champions films from directors of color, speaks out. 

The Best Films About Women in 2014

"Beeban Kidron: The Shared Wonder of Film"

"Everything You Need To Know About The Hollywood Pay Gap"

"Celebrating Women in Classic Film: The Silent Directors."

"The History of Women in Animation. The Mothers of a Medium."

Women Documentary Filmmakers

The Director List (including women indie, documentary and television directors.)

 "85 Films By and About Women of Color."

"Female Directors Make History at the 2015 Tribeca Film Festival."

"Attention Filmmakers! Apply for the HBO fellowship for women and diversity"

"Hollywood Sets Up Its Lady Superheroes to Fail"

"Two women-led media companies are committing greater resources to funding and distributing films made by women".

"Diversity doesn't just happen': Six women in film discuss the challenges ahead

ArcLight Cinemas Spotlights "Exceptional" Women-Directed Docs in Summer Series

"Heroines of Cinema: These 10 Female Filmmakers Prove Why Hollywood Studios Should Change Their Tune"

"Guide to Cult Female Filmmakers"

"Female Directors Pick Their Favorite Films Made by Women"

"Dallas Buyers Club"

Whether it’s drunken bull riding, doing drugs off of prostitutes’ bellies, or getting in barroom brawls – real-life Texas cowboy Ron Woodroof (played with devastating honesty by Best Actor winner Matthew McConaughey) is reckless with his life. That is… until he is diagnosed as HIV-positive and told that he has 30 days to live. The good ol’ boy is ostracized by his friends for being what he detests the most – a homosexual. It is 1985 and the early days of the AIDS epidemic. Ron soon finds that there are no government approved HIV drugs. The “lucky” AIDS patients are being used as lab rats. This is where he meets personable transgender AIDS patient, Rayon (appropriately named after a fabricated material rather than the spun silk she deserves). When Rayon tries to befriend Ron, Ron gets skittish and flees. But Ron isn't about to lay down and die. He takes it on himself to track down alternative treatments. When he can’t afford the drugs on his own, he is forced to team up with street smart Rayon to bring in other patients. They bypass government regulations on selling illegal drugs by starting a Buyers Club where patients pay for memberships and get drugs for free. Rayon (Best Supporting Actor Jared Leto) is the heart and soul of the, “Dallas Buyers Club.” Through their shared struggle for dignity and acceptance, the men develop a grudging respect for each other. Ron Woodroof might be doing it for the wrong reasons (to provide drugs for himself and make money), but he ends up helping many AIDS patients and growing a little in the process.

Movie blessings!
Jana Segal
reelinspiration.blogspot.com