Look, thanks to that godforsaken pandemic, which messed up the Oscars and the entire calendar year, it’s kind of hard to make the Best Films Of The Year, So Far feature because so many films were kind of released in 2020 — to qualify early for the Oscars — and or many were just released in a quiet limited release in December 2020. So, there is a tiny bit of crossover on our Best Films of 2020 list, but some films, “Nomadland” and “Minari” — which were essentially seen early last year at festivals — are not on this list and some films on the edge, like “Pieces of A Woman,” are okay?

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Every year is a good year to stan female directors, but 2021 has cooked us up a real feast. Acting veterans like Rebecca Hall, Maggie Gyllenhaal, Robin Wright, and Halle Berry are finally claiming their director’s chairs on feature films, while arthouse icon Jane Campion is returning to hers after 12 years. Foreign language directors like Lucile Hadžihalilović and Ildikó Enyedi are making their English-language debuts, and French juggernaut Mélanie Laurent is working on two releases back to back.

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The deck for 2021 film releases was shuffled yet again late last year, adding yet another wrinkle to what has undoubtedly been one of, if not the most tumultuous yearlong period for domestic film distribution in history. Obviously, some of 2021’s bigger blockbusters still have (tentative) release dates (see our massive 100 Most Anticipated Films Of 2021 feature): we’re thinking of Denis Villeneuve’s hotly-anticipated “Dune” adaptation, which was supposed to be in theaters last December, and also Adam Wingard’s long-delayed “Godzilla Vs.

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The blue-haired Winona (Jessica Barden), while driving, vents to an unseen man about living with her parents. She fumes, “I want to stick a fork into an electrical socket every minute that I’m there.” A recent-college dropout, the twenty-year-old Winona lives in arrested development with her parents in their Los Angeles suburban home. Winona is flirtatious and provocative. She tiptoes around her supposedly judgmental mom Pamela (Marcia Gay Harden) and works for her father Richard (Michael McKean), as an office assistant (a nepotistic position that requires little work of her).

Continue reading ‘Pink Skies Ahead’: Kelly Oxford’s Debut Is Charming And Irresistible [AFI Review] at The Playlist.

Academy snubs be damned, 2019 was a spectacular end to a decade of outstanding films directed by women. Joanna Hogg reinvented visual memoir with “The Souvenir,” Lulu Wang challenged American conceptions of family and death in “The Farewell,” and Greta Gerwig’s “Little Women” adaptation upended one of the most iconic American novels by and about a woman.

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