France’s entry to this year’s Oscars is Alice Diop’s Saint Omer, a devastating court room drama that follows a novelist who attends the trial of a woman accused of killing her own child, and finds herself troubled by connections she makes with the accused. The film explores the themes of motherhood, race, gender and class, and is carried by two astonishing performances from its main cast.
Inspired by Bresson’s Au Hasard Balthazar, Jerzy Skolimowski’s EO follows a donkey as he moves from owner to owner across Europe. A quiet, unexpected hit at Cannes last year, the film asks us to consider our relationship with animals and what we believe to be humane or not. Filmed from the perspective of EO himself, it is up to us, the audience, to decide how we feel about what we see and what might be going on inside EO’s mind.
Georgia Oakley’s debut feature, Blue Jean, follows a young PE teacher in Thatcherite Britain as she attempts to navigate her own sexuality in a society that very much condemns people like her. Rosy McEwen took the BIFA for Best Actress in December for her leading role in this film – a quiet portrayal of a young woman trying to protect herself and those around her but struggling to find a balance that allows her to be herself completely.
Ten years after Stories We Tell, Sarah Polley returns behind the camera with Women Talking. In a small and isolated religious community, the women have gathered to decide whether to leave or stay after suffering years of violent assaults by the men they share their lives with. Over the course of a few hours, they debate whether to stay and fight, or leave and risk everything in a world they know nothing of. Inspired by a true story of a group of Bolivian Mennonite women who fought for their freedom in 2009, Women Talking features heart-breaking performances from its all-star cast.
Finally, Saim Sadiq’s Joyland is a stunning drama from Pakistan that follows a man whose entire life is upturned after he takes on a job as a back-up dancer for a transwoman. The film is at the centre of much controversy in Pakistan where its exploration of queer love and gender norms, and its commentary on class and the patriarchy are still hard to hear in some areas. Still, the film is beautiful and one not to miss this month.
Hope to see you there,
Meli
