The Oscars (part two – Kelly Reichardt & the Bechdel Test)

Blog, Film, Women to love

So what did I do when the world was talking about the Oscars (a belated retelling).

I went to see Kelly Reichardt’s film Certain Women hosted by the Bechdel Test Fest and then listened to her talk about it. And it was a great idea!

Hurrah for the Bechdel Test Fest! This being, in their own words, ‘an ongoing celebration of films that pass the Bechdel Test‘.


To pass the test the film must have:

  1. At least two female characters
  2. They must both have names
  3. And they have to talk to each other (just once) about something other than a man.

It’s a very low bar – but over half of the top grossing films in 2016 didn’t pass. But the Bechdel Test Fest project works to promote and showcase the films that do.  Here’s a list of their upcoming events and they’re great to fb follow.

But yes, they brought screenwriter and director Kelly Reichardt and her film Certain Women into my life. (Thank you).

The film debuted at the Sundance film festival in January 2016 and was formally released in October 2016. To write the screen play Reichardt took two short story collections from Mantana’s Maile Meloy – an American Fiction Writer who’s books I’ve subsequently amazon ordered.

The film

First off, here’s the trailer. Which really gives the best indication of what you’re in for.

The film follows four women (Laura played by Laura Dern, Gina played by Michelle Williams, The Rancher played by Lily Gladstone and Beth played by Kristen Stewart) whose stories link tenuously and at times more intimately with each other.

I’ve actually had the darned hardest time trying to sum up this film because it’s just the bees knees. Put in the most succinct terms I can muster, Certain Women felt like one of the most true to life portrayals of women I’d seen on the big screen. No over exaggeration.

This is perhaps instantly demonstrated when looking at the physical portrayal of the characters.  Their hair looking like mine does now. The clothes pulled from what could have been an actual wardrobe. In watching Laura Dern use a lint roller on her clothes. And in most of the characters appearing without make up. Most poignant for me was seeing Kristen Stewart’s character Beth stand up in front of her class with her necklace clasp and pendant hanging next to each other. As necklace clasps do – all the time!

And each woman was physically different from the other – as we are. There wasn’t a sniff of the Hollywood homogeny we are unfortunately accustomed to.


Physical appearances aside, the film finds each character to an extent both physically and emotionally alone. Not in a sad, negative, patronising way – but it’s a poignant isolation, that seemed to me to arise as a kind of side effect of their clear intelligence and independence as women. And their choice not to conform to dated, traditional societal ideas of gender roles.

Unfortunately, they still inhabit the landscape of an inherently sexist world.

And there’s the masterpiece. The cracking juxtaposition of women just being – as we all are. In a world full of perceptions of what they/we should be. And the balancing act of of it all. (And books and books could be written on how Reichardt achieves this).

It also portrays unapologetically the suckiness of that. There’s a scene in which Laura Dern’s character, a lawyer, takes a client who won’t listen to her advice to get a second opinion from a male lawyer. The male lawyer’s verdict is instantly accepted.  ‘It would be nice to think if I were a man’ she says ‘how restful that would be’.

But there’s no shrieking, there’s no visible anger. Contrastly there’s placidity and calm. And aside from its social comment, it’s just a beautifully shot and peaceful insight into Montana. Telling three stories about complex and interesting individuals in a mesmirsing way. It was great!

The Q&A

And then there was the Q&A and Kelly Reichardt talked about the film. (Woman crush – she was so cool).

Aside from writing the screen play and directing Certain Women, Reichardt also talked about editing the film herself and said she had done this with a majority of her work due to a lack of money/funding.

At one point, someone in the audience implied they felt like one of her characters was sad. (The character in question was the lawyer who lived alone with her dog). To which Reichardt contested the absoluteness of that statement and then said – you see the image of a man and a dog out in some wilderness and it’s a picture of happiness. But this woman and her dog – people impose sadness and an incompleteness to her life. What’s that about? (Mic drop).

Somebody also asked about the future of the women – and Reichardt couldn’t answer that. As consumers we are used to narratives in which each character has trajectories, lessons to learn, things to over come – and these are stories that engage us but are removed from us in their perhaps unrealistic resemblance of  life. But Certain Women is glimpses of actual people. As if Reichardt just held a camera up to a moment in their lives. Individuals so complex in their nature how could you predict the choices that they would come to make.

After the Oscar’s funk, Reichardt and her film Certain Women reminded me exactly of why I’m doing this.

The screening was relatively small and didn’t pack out – which seemed bizarre for the price and the opportunity to listen to Reichardt – but there you go.

To sum up: Kelly Recihardt is basically a fucking genius. And Certain Women is a calm and powerful film full of relatable moments. Go watch it!

The Oscars (part one – frustration)

Blog, Film

The Oscars came and went – the time of year when gold figurines in the male form are given out to recognise “excellence in cinematic achievements”. Because what else could?

The people who decide who’s excellent are ‘the Academy’ – or AMPAS ‘the Academy of Motion Picture Arts and Sciences’ .


(photo credit Marcin Wichary – creative commons)

The Academy doesn’t have a great track record of being representative of society – according to a Los Angeles times study in 2012 94% of its members were white, 77% were male and 86% were aged 59 or older. And of the 43 people sitting on the board of governors – only six were female and Cherly Boone Isaacs doubled up as the only person of colour.

Looking back at the nominees this year – no women were nominated in the categories of animation, cinematography, direction, editing or sound mixing. There were a smattering of women across the board but there weren’t nearly enough considering 50% of people have a vagina.

And whose to blame? While it’s easy and tempting to blame the AMPAS members – and they aren’t excusable – they are only one part, one solitary body amid the giant complex mass of problematic universe surrounding and shaping them.

Since starting this project – my world is shifting, contorting and repositioning itself. I wasn’t known for being particularly optimistic about equality, but the reality I now see really is a lot worse than I had even imagined. I wanted this project to be a positive and constructive outlet for my frustration – but things are looming larger than they ever have before.

Our inequality as women is the entire great mass of our human history culminating in our current existence. And you can evidence it in each part – it will be there, in some manifestation or form. It’s in the gold male figurines, it’s in the board of governors, it’s in the funding awarded, it’s in the choices young women make. It’s in the promotion somebody else got, it’s the leg up, the hand held out, the old traditions – it’s in the frameworks we’ve been told to accept.

It flourishes in the bias of men and women, unbeknown to them. Its expectations are pulling down the very open sky to rest itself as a leaden weight on the shoulders of, women. That ceiling – they patronisingly coax us to crack.

And yes, let’s realise how fucking bad it is. And realise it’s everywhere. And call out that person who insists, ‘but we are equal!’.

And then let’s look forward to think about how we can make positive change, because we need to. And it is happening.

Organisations such as ‘women in film’, ‘agnes film’, ‘women make movies’ and ‘EWA’ financially, professionally ad practically aim to support women in the field and they will be integral in bridging the gap and bringing about a nomination list that actually in some way resembles our society.

Women supporting women will be how we bridge the gap.

I didn’t watch the oscars – this year I wasn’t able to watch the majority of films nominated. But a few (very few) things did get the all clear and I’ve either already enjoyed them or will be soon:

  • 13th, documentary directed by Ava DuVernay
  • 4.1 Miles, short documentary directed by Daphne Matziaraki
  • Toni Erdmann – foreign language film directed by Maren Ade


Hopefully this list will be significantly longer next year.

Daisy-May Hudson and her documentary ‘Halfway’

Blog, Film, Women to love

Daisy-May Hudson was bought a video camera for her 21st birthday and used it to document the struggle herself, her younger sister and mum went through when they found themselves having to declare themselves homeless.


This is Daisy’s first film which she has directed and produced herself. She’s now MASSIVELY, DESERVEDLY, been crowned one of BAFTA’s breakthrough Brits for her work.

I saw Daisy’s film on Sunday at Genesis Cinema in Stepney Green (who are doing a ‘directed by women’ season showing 52 films directed by women – so check them out too Daisy herself was there, introduced the film and did a quick Q&A after the showing.

The documentary follows a year in the life of Daisy, her mum and sister. They had previously spent their lives renting a home in Epping. But when Tesco (who owned the land) decided to sell – Daisy’s mum, who’d worked all her life, found herself priced out of their area and unable to afford a private rental. She made the difficult decision to declare them homeless and they spent the next year of their lives in temporary housing in Epping while Daisy’s mum contributed rent of over £500 each month to try to keep a roof over their heads – with no real say in what kind of roof that would be.

Daisy, her younger sister (who turns 14 in the film) and her mother are a strong family unit – but, equally, they are three strong, intelligent and charismatic individuals. Daisy describes the film as a way for them to regain power in a situation in which they found themselves powerless.

The year they had is a heart wrenching snap shot into a faceless system which is fundamentally flawed – with seemingly no real understanding or awareness of the people inside it.

The film is a call to action for our government and an important experience shared for so many people within our society who have had/or are having similar struggles. Which is ALOT – more than 120,000 children were homeless or in temporary accommodation this Christmas according to Shelter (

Unfortunately the showing itself was fairly baffling as, despite Daisy being in the news and the film receiving much praise, there couldn’t have been more than 12 other women there – and it really was women only. When I fist walked into ‘screen 4’ I had to go back to check I had the right room – as it was empty. It was an important reminder for myself as to why I was doing this project.

This was especially devastating as the film itself was a masterpiece – that all Londoners, nigh all people living within this our society, would benefit from watching.

Daisy-May Hudson is fantastic. She’s achieved something incredible here. I hope it provides the traction so desperately needed to help create positive change.