Through Her Lens: 2019 (The 92nd Oscars)

A new series by Juan Carlos Ojano moving backwards through time looking at female-helmed films. Here's the full introduction if you missed it.

The biggest story of the 2019 awards season was Parasite breaking the language barrier and becoming the first non-English language film to win Best Picture at the Academy Awards. Another story also gained prominence during that season: despite the considerable number of films directed by women that had awards buzz, none of them were nominated in the Best Director category yet again.

This was disappointing since the eligible films coming from all continents displayed the diversity of the work that women directors produced that year. Out of the 344 films included in the Reminder List of Eligible Films in 2019 (92nd Academy Awards), 78 of them (or 22.7%) were directed/co-directed by women...

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FYC: Claire Mathon for Best Cinematography

by Cláudio Alves

Two years ago, Rachel Morrison made history when she became the first woman to be nominated for Best Cinematography at the Oscars. By no means does that imply Mudbound's wondrous DP is a pioneer. There are many awards-worthy female DPs working in cinema, past and present, and the Academy's sketchy record should be understood as nothing more than the industry's  internalized sexism and biases. Where were the nominations for Maryse Alberti, Agnès Godard, and Ellen Kuras, among others?

This year, critics have been united in their praise of a particular DP whose double dose of photographic genius could make History, just as Morrison did in 2018. However, Claire Mathon is fighting against even more of the Academy's treacherous biases, including their disinterest in African cinema, LGBTQ stories, and non-English speaking narratives…

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Podcast: A Beautiful Day, Knives Out, Waves, Atlantics

with Murtada Elfadl & Nathaniel R 

Index (61 minutes)

• 00:01 Happy belated Thanksgiving
• 02:01 Marielle Heller and Tom Hanks offer catharsis with A Beautiful Day in the Neighborhood
• 14:30 Knives Out and that yummy cast: Chris Evans, Toni Collette, etc...
• 21:30 Film Bitch Awards / Jennifer Lopez in Hustlers tangent
• 23:00 Exciting new voice: Senegal's Mati Diop and Atlantics
• 29:20 Waves divides people, including Nathaniel and Murtada, and we also discuss the rush to judgment on first screenings among pundits
• 38:00 Spirit Nominations - What did we make of them?
• 48:20 Best Cinematography - Roger Deakins for 1917... but who else? 
• 59:00 Can you believe it's December already? 

Related Reading
Murtada's interview with Mati Diop
Monica Castillo's Knives Out essay

 You can listen to the podcast here at the bottom of the post or download from iTunes. Continue the conversations in the comments, won't you? 

A Beautiful Day for Podcasting

Mati Diop on 'Atlantics' and the most haunting scene of the year

by Murtada Elfadl

In the press notes that come with Atlantics, director Mati Diop mentions something that touched me in a deep way. She is talking with a young man named Serigne in Dakar, Senegal whose sea crossing story she featured in her short film, Atlantiques (2009). He tells her about migrating and leaving one’s country of birth

 when you decide to leave, it’s because you’re already dead

That reminded me of a quote from Tracy Chapman’s "Fast Car" that struck me at a young age and was part of my decision to leave Sudan in the late 1990s. I remember saying it to my friends at the time as a reason to leave.

leave tonight or live and die this way

People migrate for many different reasons. For economic hardship, for political persecution, or when their values no longer match the values of the places they live in. I left because I wanted to live openly as a queer person and not continue being closeted or live on the margins of society, the two choices affored me at the time. Perhaps this personal connection with a story about migration is why I have not able able to stop thinking about this film...

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