DIRECTORS, TOO.

A few women who have directed movies I’ve liked are getting a good amount of attention these days. Which is nice. But so are a lot who have directed movies that I didn’t particularly care for. Which bugs me a little. I know it really shouldn’t, but I can’t help it - it does. Maybe more than a little. Enough so that I’m about to make a modest attempt to balance the scales by shedding the tiniest light imaginable on some directors whose work I very much enjoy. I don’t see them talked about or celebrated enough for my liking. So let’s do just that.

What has she directed that I might know?

THE BABADOOK (2014)

THE NIGHTINGALE (2018)

Why should we be talking about her?

People talk about Kent all the time, actually. No shortage of chatter or praise in her honour. But all that industry excitement seemed to dry up a little when, after breaking out huge with her first feature, “The Babadook”, she seemingly turned down a bunch of studio offers and instead made “The Nightingale”. Despite the latter’s clear quality, it wasn’t just a re-hash of the former and I think that’s what most people were expecting and/or wanted. I, however, was thrilled by her so-called sophomore effort and hope she continues to challenge audiences expectations as well as herself as a storyteller.

What has she directed that I might know?

TURN ME ON, DAMMIT! (2011)

Why should we be talking about her?

Because I’ve never once read her name online or in print without having to search for it first and she directed one of my absolute favourite moves in recent memory. I know it’s not always about who did what first, and we shouldn't judge movies by comparing them, but before a host of “refreshingly” honest coming-of-age movies starring teenage girls instead of boys she made one that I think stands head and shoulders above the rest. She also did so with a warmth and tenderness that I feel was ignored in favour of cynicism and snarky sarcasm in those we’ve seen since. And she made hers in Norway, no less… I don’t know why that matters but it totally does.

What has she directed that I might know?

MY GRANDMOTHER IRONED THE KING’S SHIRTS (1999)

THE DANISH POET (2006)

HOKUS POKUS ALBERT ÅBERG (2013)

ME AND MY MOULTON (2014)

THREADS (2017)

Why should we be talking about her?

Because, despite having an Academy Award, she’s not getting the attention I wish she would. I’ve never seen “Hokus Pokus…” because despite my best efforts I can’t find a version with subtitles. It’s her only feature film to date. The rest of the titles above are shorts. All animated. I don’t believe she’s ever dabbled in live action. I will admit that I was slightly disappointed by her most recent one, “Threads”, but that’s probably because she set the bar so incredibly high with the previous three. “My Grandmother Ironed the King’s Shirts” is one of the most delightful stories I’ve ever been told. “The Danish Poet” is as perfect a piece of work as I’ve ever seen. And with “Me and My Moulton” her signature style and charm had absolutely no problem surviving the transition from quaint, hand-drawn animation to a more digitally processed look and feel.

What has she directed that I might know?

VIVA (2007)

THE LOVE WITCH (2016)

Why should we be talking about her?

It’s extremely rare to see a movie and realize it could not have been made by a single other person on the planet. That’s how unique and singular their vision and voice are. Biller is one of those directors. She makes David Lynch look like Ron Howard. I’ve heard that she has a very difficult time making her movies. That it takes her a long time to get financing due to insisting on 35mm film. That the crews she works with make no attempt to hide their distaste for and disinterest in the project - sometimes going so far as to mock her on set. I hope this changes, or has changed in the wake of “The Love Witch”, because she’s a one-in-six-billion artist who deserves to be able to create whatever the hell she desires for as long as she desires. Movies in general will be all the better as a result. I should point out I’ve merely listed her features here and that she’s made a handful of just as impressive short films. I particularly enjoy and recommend “A Visit from the Incubus”, which you can find on Vimeo.

What has she directed that I might know?

CARAMEL (2007)

WHERE DO WE GO NOW? (2011)

CAPERNAUM (2018)

Why should we be talking about her?

I suppose “Capernaum” is undeniably a better movie - certainly a more profound and important one - but I fell deeply in love with “Caramel” upon first seeing it so it remains my favourite. I’m thrilled that she’s gone on to win the praise she has, but I still feel as though she’s not as big a part of the conversation as she should be. She has this unique ability to tell stories that share similar themes and ideas but wildly different tones and styles. Yet their colour palates are all the same. Who would have thought that shade of creamy caramel being used to wax legs in her first feature would end up matching the never ending landscape of sand in her second? Things like that. And she’s just as versatile an actress. In a decade she bounced from hapless salon owner to stern defense lawyer without changing a single thing about her appearance and both were just as believable.

What has she directed that I might know?

ZOMBIE SHARK (aka SHARK ISLAND) (2015)

OZARK SHARKS (2016)

MISSISSIPPI RIVER SHARKS (2017)

SANTA JAWS (2018)

Why should we be talking about her?

She was the first female to direct a SyFy channel original movie. She’s since made three more. All shark movies. Each one better than any “Sharknado” instalment. I don’t think I need to say anything more.

What has she directed that I might know?

SARAH PREFERS TO RUN (2013)

BOUNDARIES (2016)

Why should we be talking about her?

Her first feature made a huge impression on me. I’ve only seen it once but I remember it scene for scene better than some movies I’ve sat through two or three times. Her second was just as impressive and memorable. And the only thing I didn’t like about her short “Delphine” was how short it was - I wanted more. She’s also responsible for “Féminin/Féminin”, which is the best web-series I've ever seen. Oh, and she’s been on my vision board two years in a row now.

What has she directed that I might know?

A GIRL WALKS HOME ALONE AT NIGHT (2014)

THE BAD BATCH (2016)

Why should we be talking about her?

Because she’s probably the coolest director working right now. Too cool for school kinda cool. After “Reservoir Dogs” but before “Pulp Fiction” kinda cool. There’s a scene in her first movie where a woman puts a record on and a man walks up behind her. She turns around, looks at his neck and then lays her head on his chest. What might sound simple and insignificant became, in her hands, one of the coolest scenes ever. That movie was in black & white. Her second could not have been more colourful. I’m excited to see her third.

What has she directed that I might know?

SONGS MY BROTHER TAUGHT ME (2015)

THE RIDER (2017)

Why should we be talking about her?

She has two movies in post production at the moment. One is called “Nomadland” and stars Frances McDormand as a woman hit hard by a recession who journeys through the American West living out of her van. The other is Marvel Studios’ “Eternals” and stars Angelina Jolie as some kind of immortal being who secretly shaped civilization. So people will certainly be talking about her quite a bit over the next few years. But before that happens do yourself a favour and watch “The Rider”, which was my third favourite movie of 2017.

What has she directed that I might know?

BOOKSMART (2019)

Why should we be talking about her?

I guess we really don’t need to be. Everyone’s already talking about her a ton. So maybe she shouldn’t be on this list. But I’m including her anyway. I feel I have to. Because every single moment, bit, performance, joke, set piece and scene of the one movie she has directed was so wonderfully realized cinematically that they simply can’t be attributed to anything but her talent. Yes - the cast and crew did a lot of amazing, hard work here. But they’ve also done so on other movies that I didn’t enjoy one tenth as much as I did this one. The difference has to be her. And I believe that’s worth pointing out no matter how many other people have already done so.

What has she directed that I might know?

FIRECRACKERS (2018)

Why should we be talking about her?
Because her movie tricked me. Ten minutes in and I thought I was watching another amateurish coming-of-age tale that thinks it’s oh-so raw and gritty when it’s actually just populated by annoying, immature characters with petty problems. Then slowly but surely it revealed itself to be so much more than that. It just starts off that way so that it’s characters have somewhere to grow when real life and the resulting emotions hit and hit hard. This movie took me on a complete journey of youth to adulthood; innocent optimism to harsh, mean reality. Which is an extra big deal because it was a much needed reminder that you can indeed make a wonderful movie in Canada (that’s not in French).

What has she directed that I might know?

REVENGE (2017)

Why should we be talking about her?

Because she did something nothing short of phenomenal - she took a slight, stale, sparse, simple and frankly far too predictable story and made the most thrilling movie I’ve seen in a long time out of it. And, unlike most every other director who would not have been able to resist, she did so without padding or complicating said story. Five minutes into the movie and you pretty much know beat for beat where it’s headed and how it will get there. The only shocking thing along the way is how engrossed and invested you become in this beautiful, blood-splattered thing. Maybe it’s because she keeps things so familiar and obvious (take the title, for example) that she’s able to pay closer attention to every tiny detail, from those ants to that earring, turning a boring cliche into a rich revelation. So let’s all watch Coralie closely to see what she does next.

What has she directed that I might know?

MY COUNTRY, MY COUNTRY (2006)

THE OATH (2010)

CITIZENFOUR (2014)

RISK (2016)

Why should we be talking about her?

Documentary directors are in a different league altogether from narrative ones. Same sport, but definitely a whole different league. And that’s not to say it’s a superior one. There are just very few threads connecting what it takes to complete one of the two. And then within this separate league there are different teams. And on those teams are all kinds of players with different abilities and strengths. So if documentaries are her game and she plays for politics, than in my eyes she’s been MVP for over a decade now. All movies have the ability to change the world by reaching out and touching the hearts and minds of the people in it. But usually that possibility is put aside in favour of another goal - to entertain. Some argue that’s how it should be, as that’s how all this really began. Fighting against that idea, whether they know it or not, are movies that prioritize informing their audiences - any entertainment provided is just a nice coincidence. This is her goal, and she’s the best cinematic informer around. Never once does she do anything to sway or lead your opinion in one direction or another. She just gives you the facts and what you think or how you feel about them is entirely on you. This is called forming your own opinion. Remember that? She’s encouraging you to do so. She is a journalist with a camera and the best kind at that.

What has she directed that I might know?

LAMP LIFE (2020)

Why should we be talking about her?

From what I understand she was largely the one responsible for turning Toy Story’s Bo Peep from a porcelain damsel love interest into a tough, independent, ass-kicking heroine. I saw some sketches online that specifically suggest Bo’s skirt becoming a cape was all her idea. So thank God that when the people at Disney and/or Pixar were looking to make a short chronicling Bo Peep's journey between “Toy Story 2” and “Toy Story 4” they hired Lapointe to write and direct. Or maybe she pitched the idea to them. I actually have no idea. Whatever. The point is that she did it. And I’d say the resulting short is one heck of a calling card - but that diminishes it. It’s more than just a small thing she’ll use to get to a realer, bigger thing (although I do predict she’ll direct a feature at the studio within the decade). It stands alone and tall as a wonderful, seven minute long movie.

What has she directed that I might know?

THE ASSISTANT (2019)

Why should we be talking about her?

Because you should go watch “The Assistant” right now and make sure you pay for it if given the option.