Through Her Lens: 2011 (The 84th Oscars)

A series by Juan Carlos Ojano. Introduction / Explanation

At the 84th Oscars, the winner for Best Director was first-time nominee Michel Hazanavicius for The Artist (2011), the story of a silent film star on the verge of downfall as Hollywood transitions into the talkies. The recreation of that era's silent filmmaking became one of the more unusual Best Picture wins of recent memory. Hazanavicius was up against four men who were previous nominees in the category: Alexander Payne for the dramedy The Descendants, Terrence Malick for the art film The Tree of Life, and two previous winners in Martin Scorsese for the adventure Hugo, and Woody Allen for the period fantasy Midnight in Paris.

2011 was business as usual in the Best Director race, with no female director ever really in serious consideration. The only arguable exception was one extreme longshot early on in the conversation - Angelina Jolie for her directorial debut In the Land of Blood and Honey. Out of the 265 films included in the Reminder List of Eligible Films in 2011 (84th Academy Awards), only 19 (7.2%) were directed/co-directed by women...

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Review: Going viral with "Not Okay"

by Matt St Clair

While social media can be an outlet for networking and connection, it’s also a place of toxicity. Quinn Shephard’s new satire Not Okay heavily emphasizes the latter. In a digital age where anyone can achieve fame with viral tweets or TikTok videos, Not Okay taps into how some people, like anti-heroine Danni Sanders (Zoey Deutch), go on a demeaning search for internet clout.

Stuck with an unfulfilling photo editor job when she wants to be a writer, Danni Sanders aims to get ahead at the magazine she works for. Seeking fame and validation from everyone around her, including influencer Colin (Dylan O’Brien) who she crushes on, Danni decides to fake a trip to Paris. With just her photo skills and a change in location on her Instagram posts, Danni makes it appear she went away despite being held up in her apartment. But once a terrorist attack occurs in Paris, Danni then pretends to be one of the survivors. As you can guess, thinks get grimmer as they progress... 

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Through Her Lens: 2012 (The 85th Oscars)

A series by Juan Carlos Ojano. Introduction / Explanation

Come Oscar nominations announcement, the Best Director category was one of the most discussed among Oscar fans and predictors. Perceived frontrunners Ben Affleck (Argo), Kathryn Bigelow (Zero Dark Thirty), and Tom Hooper (Les Misérables) missed out on nominations while two legitimate shockers came in their place:  Michael Haneke for the arthouse drama Amour and Behn Zeitlin for the fantasy drama Beasts of the Southern Wild. This led to one of the most chaotic Oscar races of the decade, leading to Argo winning Best Picture even without its director Affleck nominated.

While she was a strong force in that category leading to nominations, previous winner Kathryn Bigelow was the only female director given considerable awards attention that season...

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Through Her Lens: 2013 (The 86th Oscars)

A series by Juan Carlos Ojano. Introduction / Explanation

Steve McQueen became the first Black director to helm a Best Picture winner for 12 Years a Slave (2013), telling the harrowing story of African-American freeman Solomon Northup who was kidnapped in 1841 and was sold to slavery. McQueen also became the first Black producer to receive a Best Picture award. Meanwhile, the film’s biggest competition was Gravity, a science fiction-thriller film set in space. Winning seven Oscars, the film was directed by Alfonso Cuarón, becoming the first Latin American to win the Best Director Oscar.

While having these two films as frontrunners is a win for representation at the Oscars,  female directors were still left out of the conversation for majority of the awards season.  Out of the 289 films included in the Reminder List of Eligible Films in 2013 (86th Academy Awards), only 32* (11.1%) were directed/co-directed by women...

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Doc Corner: The Cowgirls of 'Bitterbrush'

By Glenn Dunks

Emelie Mahdavian’s first documentary feature was set in Tajikstan. The remote mountains of Idaho in the American west may seem like something of a remarkable jump, but it’s really not one at all. Topographically speaking, the two are quite similar. Certainly more so than Idaho and at least half of the rest of the US. That Mahdavian was so easily able to embed herself into the world of Bitterbrush shouldn’t surprise, then.

This is a quiet film, a film about loneliness and struggle and about the physical toll of a genuine hard day’s work. Unlike something like Buck or the more thematically similar Sweetgrass, that its two subjects are women lends Bitterbrush a unique entry-way into its world that brings with it a lot of connotations even before its opening shot...

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