Kanopy. Quality films for free.
Directed by Cheryl Dunye
Written by Cheryl Dunye
A few months ago I watched Nisha Ganatra’s Chutney Popcorn and was charmed by it’s 90’s indie energy;* so it was for this film, an imperfect, yet incredibly engaging story of a video store clerk on a quest to find out more about a Black actress from the 1930s. While the production values are low, the charisma is high, and this film is funny.** While it’s a Good film for anyone to watch, it’s Recommended if you were of a certain age (say, 16–30) in the mid-90s, have an interest in new Queer cinema, or are curious about what’s up with that mysterious 1930s actress Cheryl is so interested in.
Cost: Free via Kanopy. It’s also streaming for free right now on the Criterion Channel
Where watched: at home
*And yes, the many markers of the 90s were part of its charm for me.
**”Welcome to the Center for Lesbian Information and Technology.” (CLIT) (Ha!)
(None because they are both too spoiler-y)(Here’s one from a New Republic article.)
Dunye made The Watermelon Woman on a shoestring budget of $300,000—about one tenth of which came from an NEA grant. The film received limited attention when it was originally released in the U.S., but that didn’t stop it from generating controversy when Michigan Republican Pieter Hoekstra cited it as inappropriate use of government funds. He tried unsuccessfully to get his colleagues in Congress to deduct Dunye’s $31,500 grant from the NEA budget, citing NEA funding for a series of gay and lesbian films that “most Americans would find offensive” and referring to The Watermelon Woman specifically as “patently offensive and possibly pornographic.”
Moira Donegan, New Republic
Directed by Tom Harper
Written by Nicole Taylor
Tales of striving artists tend to be complicated and none more so than when those striving artists are women.* So it was interesting to see Jessie Buckley walk the line** between paroled convict, mother, and aspiring singer, not to mention Julie Walters trying to find a middle ground as Buckley’s mother. Aside from the art/family debate, there was also some good stuff around class, a wonderful soundtrack, and great musical performances.
Cost: $2.99 via Redbox On Demand
Where watched: at home
*Because the way things are set up right now there’s a lot of things women have to do on a daily basis before they can get to the art.
**Ha!
Glasgow’s Grand Ole Opry can also be visited, on Govan Road. It specializes in country music.
Directed by Spike Lee
Written by Danny Bilson, Paul De Meo, Kevin Willmott, and Spike Lee
This movie is long* and takes place in two time periods** (Vietnam in 1971 and Vietnam in present day) and has a lot of feelings ricocheting around. Much like the Vietnam War was a mess that kept getting worse, so goes the plan to find the gold.*** While things are going south there are some amazing performances**** and the actors have built characters into people we care about.
Cost: Netflix monthly fee ($8.99)
Where watched: at home
*I took a bathroom break and when I paused the film I discovered that though the counter said 1:12 for having watched, there was still 1:22 left to go. I groaned, but the second half turned out to be engrossing.
**In the two time periods it uses the same actors for both without digitally de-aging them. I was not a fan of that process in the Irishman, so good job avoiding that, but it was weird to see the old actors looking old and playing young without comment. The aspect ratio changed to indicate which time period we were in. I eventually got used to it.
***I feel like there could be a movie throw down called Going After the Fortune: Totally Worth Your Time vs. Will Destroy Your Life.
****Delroy Lindo’s direct address to the camera! Wow!
This will be the first Netflix film to screen at the Cannes Film Festival in three years. Controversy had stirred up after Netflix screened their films at the 2017 festival over the differing policies of streaming versus theatrical release, prompting Netflix and festival organizers coming to strong disagreements. Netflix subsequently withdrew their films from the festival for three years after. This film will be part of the festival’s Out of Competition category for the 2020 festival.
Well that didn’t come to pass. Thanks, coronavirus.
Directed by Ava DuVernay
Written by Spenser Averick, Ava DuVernay
DuVernay lays out a convincing case that exploitation of a phrase in the amendment that abolished slavery (except as a punishment for a crime whereof the party shall have been convicted) has continued to enslave Black people in the US since the amendment was adopted. It’s a stylish documentary, with great graphic design* and camera angles of talking heads that aren’t just static head shots. But it also packs a repeated punch** and leaves a lot of room for thinking.
Cost: Netflix monthly fee ($8.99)
Where watched: at home
*It looks like old-timey posters
**For me the dialog of the current occupant of the White House overlaid with footage from the Civil Rights Movement was particularly striking. Also, the point that was made that you can talk about the lives of many white leaders without discussing the FBI, but this is impossible to do for Black leaders.
The filming locations and production design of the interviews, with brick walls and industrial equipment represent labor that, according to DuVernay, “has been stolen from black people in this country for centuries.”
(I was particularly taken with the building where Angela Davis was interviewed. What was that gorgeous decaying space? I watched the Oprah/Ava conversation (available on Netflix) and learned it was an abandoned train station in Oakland, California.)
Directed by Stefon Bristol
Written by Fredrica Bailey & Stefon Bristol
It’s a delicate balancing act, this movie, what with trying to have a fun caper (two teenagers build time machines!) and also addressing police shootings (they are trying to save a family member).* It succeeds at this task, managing to balance the wonder of time travel with the horrors unnecessary death.** Plus, it’s always good to see a determined girl who loves science on screen.***
Cost: Netflix monthly fee ($8.99)
Where watched: at home
*This week has been an heightened one for watching depictions of police interactions on screen.
**While watching, I was cataloging the number of swears, because this would be a good film to show in school. The level of swearing sunk that, but in hindsight, I’m guessing most schools wouldn’t show a movie depicting police shooting and unarmed man, no matter how much fun the science stuff is.
***There’s a fun cameo in this film too!
In the school scene, Mr. Lockhart is reading Kindred by Octavia Butler, a book about an African-American woman who travels back in time to pre-Civil War America and has to deal with the injustice and oppression of slavery.
I have read Kindred and it’s great! Highly recommended!
(20 total movies watched)
One girl, four brothers.
No girls, one superhero in training.
Two girls, one reluctant superhero, plus two creepy guys with face coverings.
One girl and one boy who like a girl.
One girl who loves writing.
Two guys cause trouble for 2.5 girls.
Two girls, mother and daughter, and two men who love them.
No girls, but a truckload of injustice.
One girl, a bevy of boys and a complex narrative.
Two girls, mother and daughter.
One girl and one guy and hilarity.
One girl, the best First Lady we’ve had.
One girl determined to make her life better.
One girl fairly despondent.
One sad girl and one sad guy.
I also rewatched Emma. and Little Women (2019). Those are still Recommended.
Directed by John Williams
Written by Michael Müller
Only because of Luke Perry did I watch this and though there is ample Luke Perry,* I was not blessed with a good movie, though it does stop well shy of being terrible.** It’s the kind of movie where things happen because plot requires*** rather than unfolding organically. The music was fine.****
Cost: free via Kanopy
Where watched: at home
*And god bless Luke Perry for imprinting on me in the 90s, but can we talk about his range? I feel like he does what he does well: attentive stares, sad eyes, thoughtful performances. But I don’t know if I’ve seen him step outside those things. Please weigh in with your input.
**Sometimes boring movies are worse.
***How exactly did this famous singer with an American accent get away with living on the dole in London under an assumed name? Do they have unemployment benefits for non-citizens there? Perhaps they do and I’m thinking of the USA’s attitude toward welfare. But really, no one recognized him? Also, was there no other sympathetic sort at school than the hot girl?
****Though if you are looking for a sad people musician story, might I recommend Song One?
Luke Perry is left handed and his character writes left handed in the film, but plays guitar right handed.
Written and directed by Kate Barker-Froyland
This film is a must-see for people who like to watch Anne Hathaway emote, like quiet films with lots of time for thinking, or perhaps would like a tour through concerts of indie musicians playing in NYC/Brooklyn circa 2015.* It’s a great film for twining pain (a brother in a coma) with the pleasure of connecting through music. It also had me reflecting about the sounds around us and how they often go unnoticed.**
Cost: $1.99 via Redbox On Demand. Arrrgh! Have just discovered it’s on Hoopla and I could have watched it for free!
Where watched: at home
*Essentially, this is the perfect “me” movie.
**Plus, after watching this, Emma. and the TV series Love Sick I’ve concluded that Johnny Flynn plays essentially the same character every time. But he’s picked a good character to play.
The steel guitar that Johnny Flynn’s character James Forester is often seen with is his own guitar and is featured in many of his music videos.
