Today I saw The Favourite, starring Emma Stone and Rachel Weisz.
Queen Anne (Olivia Colman) is a mess—physically, mentally, politically. She has a close confidante/lover/advisor in Lady Sarah (Weisz) and utilizes her to truly run the country.
Along comes Sarah's cousin Abigail (Stone) to throw everything off course.
She enters the castle as one of the "help," but soon has her eyes set on a better title, knowing she'll need to get close to the Queen to do so. Lady Sarah is very threatened by Abigail and in turn lets her know it. Sarah underestimates Abigail's capacity for self-preservation and Sarah soon finds herself ill from a poisoned cup of tea.
Abigail gets closer and closer to the Queen and soon marries, rapidly regaining her "Lady" status. However, she maintains a sexual relationship with the Queen and remains by her side at all times. This infuriates Sarah, who does everything in her power to put things back the way they were.
This film can easily be described as a "romp" and that's not a bad thing. It's fun to watch these women get caught up in each other's drama and compete for the attention of a crazy, aging royal. All three leads are perfectly cast and leave you believing the nonsense. Funny thing? Much of the story is actually true, which only makes it more fun.
If you want a good, racy laugh delivered by fine actors in amazing costumes, this is the film for you.
~~~
Showing posts with label lesbian. Show all posts
Showing posts with label lesbian. Show all posts
Monday, December 24, 2018
Thursday, July 12, 2018
Disobedience
On Tuesday I saw Disobedience, starring Rachel Weisz and Rachel McAdams.
Ronit (Weisz) is the daughter of a beloved rabbi who returns home to England from America following his death. Esti (McAdams) is the girl she once fancied, who is now married to one of their (male) mutual friends and still lives in their hometown. Because they are from an Orthodox Jewish community, the former tryst between the two women is not spoken of and Ronit is treated more as an intruder than a grieving family member. Nonetheless, the couple make space in their home for Ronit as she navigates her past.
At first, the interactions between Ronit and Esti are tense, as if they aren’t willing to acknowledge their shared history, but as the film unfolds—at a pace that feels slow, yet authentic—we see there was so much more to their story than a physical attraction between kids.
Each glance, each longing stare across the room exhibits how much emotion still resides within each woman with regard to their love for the other. Finally, when they get time alone in a space where there are no judgmental eyes watching them, they are honest with themselves and each other about their resurfacing feelings. But their renewed understanding is not without consequences. How can they move forward when one lives a life that is free in another country and the other has embraced a life of conformity at home?
The answers to this come painfully and somewhat surprisingly as the last 30 minutes of the film take us one way and then drastically another.
Brilliant performances are certainly key here, but the superb writing for me is what takes it to another level. The complexities of love, tradition, culture and friendship all erupt in beautiful and tragic ways. I was left thinking about these characters long after I left the theater.
~~~
Saturday, May 28, 2016
Summertime
Today I saw Summertime, starring Izïa Higelin and Cécile de France.
Delphine (Higelin) is a farmer's daughter in rural France who decides to move to Paris for financial and social independence. Once there, she embraces the spirit of the city, joining a feminist group and falling in love with Carole (de France), a straight girl who is transfixed by her new friend.
Everything is blissful until Carole leaves her boyfriend to pursue Delphine just as Delphine has tragedy strike back home. Will family duty get in the way of true love or will the couple find happiness?
This film gets a lot right: the chemistry between the two leads; the authenticity of the era; the sensual nature of erotic attraction—and of course—hate for the unknown.
Unfortunately, the pace of the story is very uneven. It speeds up and slows down almost as the rhythms of their relationship ebb and flow, and that makes the film feel a lot longer than it actually is. Plus, the scenes come dangerously close to being formulaic.
It gets points for its timely women's issues (despite the fact the film is set in the '70s) and superb acting. I just wish it could have condensed it's slower sequences to keep its viewers minds from wandering.
~~~
Delphine (Higelin) is a farmer's daughter in rural France who decides to move to Paris for financial and social independence. Once there, she embraces the spirit of the city, joining a feminist group and falling in love with Carole (de France), a straight girl who is transfixed by her new friend.
Everything is blissful until Carole leaves her boyfriend to pursue Delphine just as Delphine has tragedy strike back home. Will family duty get in the way of true love or will the couple find happiness?
This film gets a lot right: the chemistry between the two leads; the authenticity of the era; the sensual nature of erotic attraction—and of course—hate for the unknown.
Unfortunately, the pace of the story is very uneven. It speeds up and slows down almost as the rhythms of their relationship ebb and flow, and that makes the film feel a lot longer than it actually is. Plus, the scenes come dangerously close to being formulaic.
It gets points for its timely women's issues (despite the fact the film is set in the '70s) and superb acting. I just wish it could have condensed it's slower sequences to keep its viewers minds from wandering.
~~~
Sunday, January 03, 2016
Carol
This morning I saw Carol, starring Cate Blanchett and Rooney Mara.
There's a chronic ache one endures when love is unrequited. A pain detected by others only when looking deep into the afflicted's eyes. Carol (Blanchett), the subject of this film, feels this pain. She is on the verge of divorcing her husband Harge (Kyle Chandler) and is smitten with a young shop girl she met while searching for her daughter's Christmas gift.
As fate would have it, Carol accidentally left her gloves behind at the department store when purchasing said gift, so the shop girl, Therese (Mara) has them sent back to her. To show her gratitude for the gesture, she treats Therese to a fancy lunch and a new friendship is formed.
Meanwhile, Therese is somewhat confused about where she wants life to take her. She has a solid job at the store, but her passion is photography. She has a devoted boyfriend, but another friend likes her and also wants to be with her. Therese has little interest in either of them.
As Carol progresses with her separation, an ex-girlfriend, Abby (Sarah Paulson), helps her deal. But her association with Abby makes Harge believe she's going back to her—though she's not—so he begins proceedings to keep Carol from seeing their daughter. This drives Carol to quickly seek comfort in Therese's friendship and explore where it will go.
Did I mention it's the early 50s? And it's not okay to be an 'out' lesbian in the early 50s?
The whole film centers around this repression, despite the fact Carol seems very comfortable in who she is and makes no apologies for her feelings. It's one of those films where very little happens, yet everything does change.
If you're looking for a fast-paced love story, this is not the film for you, but if you have the cinema patience for quiet scenes, sexual frustration and longing looks, you may find yourself satisfied by its undercurrent.
Cate Blanchett is fantastic as always, as the cold, yet compassionate Carol. Mara didn't impress me as much with her deer-in-headlights glances and wooden dialog delivery, but Kyle Chandler playing against type as a jackass was fun to see.
I'm glad I checked this one off my list, even if it's not as flashy as competing films in this year's Oscar race.
~~~
There's a chronic ache one endures when love is unrequited. A pain detected by others only when looking deep into the afflicted's eyes. Carol (Blanchett), the subject of this film, feels this pain. She is on the verge of divorcing her husband Harge (Kyle Chandler) and is smitten with a young shop girl she met while searching for her daughter's Christmas gift.
As fate would have it, Carol accidentally left her gloves behind at the department store when purchasing said gift, so the shop girl, Therese (Mara) has them sent back to her. To show her gratitude for the gesture, she treats Therese to a fancy lunch and a new friendship is formed.
Meanwhile, Therese is somewhat confused about where she wants life to take her. She has a solid job at the store, but her passion is photography. She has a devoted boyfriend, but another friend likes her and also wants to be with her. Therese has little interest in either of them.
As Carol progresses with her separation, an ex-girlfriend, Abby (Sarah Paulson), helps her deal. But her association with Abby makes Harge believe she's going back to her—though she's not—so he begins proceedings to keep Carol from seeing their daughter. This drives Carol to quickly seek comfort in Therese's friendship and explore where it will go.
Did I mention it's the early 50s? And it's not okay to be an 'out' lesbian in the early 50s?
The whole film centers around this repression, despite the fact Carol seems very comfortable in who she is and makes no apologies for her feelings. It's one of those films where very little happens, yet everything does change.
If you're looking for a fast-paced love story, this is not the film for you, but if you have the cinema patience for quiet scenes, sexual frustration and longing looks, you may find yourself satisfied by its undercurrent.
Cate Blanchett is fantastic as always, as the cold, yet compassionate Carol. Mara didn't impress me as much with her deer-in-headlights glances and wooden dialog delivery, but Kyle Chandler playing against type as a jackass was fun to see.
I'm glad I checked this one off my list, even if it's not as flashy as competing films in this year's Oscar race.
~~~
Sunday, July 18, 2010
The Kids Are All Right
Today I saw The Kids Are All Right, starring Julianne Moore and Mark Ruffalo.
Nic (Annette Bening) and Jules (Moore) are modern family mamas. They're married lesbians living the dream in California with two nearly grown children; one boy, one girl. One from each of their wombs, produced by the same anonymous sperm donor father.
Joni (Mia Wasikowska) has turned 18 and is preparing to leave for college at the end of summer. Her brother, Laser (Josh Hutcherson) is pressuring her to inquire about their biological father because he is not yet of age, but dying of curiosity about his identity.
Finally persuaded, Joni contacts Paul (Ruffalo) and the three arrange to meet. The encounter goes well, and soon Paul has become a positive part of their lives, much to the dismay of their mother Nic, the most controlling (yet also responsible) of the family. Soon both children are spending quality time with him and Jules is designing his backyard (she's a landscape architect that just started her own business).
From here, things go awry as they do in many families: there is jealousy, betrayal, conversations no one ever wants to have—the family, once seemingly harmonious—is falling apart.
Nic, who is the instigator of much of the drama, is played almost too neurotic by Annette Bening. Of course there are people with her issues everywhere in life, but without anything redeeming to credit her with (aside from her obvious love of the family), it's hard to be on her side. In contrast, Mark Ruffalo's Paul is written to be so accepting and universally cool that I wanted to jump through the screen and start my own family with him. And really, he's not my type.
The real prize for acting, and remaining believable throughout the film goes to Julianne Moore. Her Jules is conflicted and honest and wounded and needy and likable all at once. She's one of those characters you can't help but forgive (and would probably do so in life if she existed), and I can't credit just the writing for that achievement. Moore's ability to morph into an entirely different spirit each time she graces the screen is in full form here.
Both children also do fine, though I would've liked more character development for Laser, and overall I would've favored an ending that didn't frustrate me.
I guess not everything about an enjoyably watchable movie can be satisfying.
~~~
Nic (Annette Bening) and Jules (Moore) are modern family mamas. They're married lesbians living the dream in California with two nearly grown children; one boy, one girl. One from each of their wombs, produced by the same anonymous sperm donor father.
Joni (Mia Wasikowska) has turned 18 and is preparing to leave for college at the end of summer. Her brother, Laser (Josh Hutcherson) is pressuring her to inquire about their biological father because he is not yet of age, but dying of curiosity about his identity.
Finally persuaded, Joni contacts Paul (Ruffalo) and the three arrange to meet. The encounter goes well, and soon Paul has become a positive part of their lives, much to the dismay of their mother Nic, the most controlling (yet also responsible) of the family. Soon both children are spending quality time with him and Jules is designing his backyard (she's a landscape architect that just started her own business).
From here, things go awry as they do in many families: there is jealousy, betrayal, conversations no one ever wants to have—the family, once seemingly harmonious—is falling apart.
Nic, who is the instigator of much of the drama, is played almost too neurotic by Annette Bening. Of course there are people with her issues everywhere in life, but without anything redeeming to credit her with (aside from her obvious love of the family), it's hard to be on her side. In contrast, Mark Ruffalo's Paul is written to be so accepting and universally cool that I wanted to jump through the screen and start my own family with him. And really, he's not my type.
The real prize for acting, and remaining believable throughout the film goes to Julianne Moore. Her Jules is conflicted and honest and wounded and needy and likable all at once. She's one of those characters you can't help but forgive (and would probably do so in life if she existed), and I can't credit just the writing for that achievement. Moore's ability to morph into an entirely different spirit each time she graces the screen is in full form here.
Both children also do fine, though I would've liked more character development for Laser, and overall I would've favored an ending that didn't frustrate me.
I guess not everything about an enjoyably watchable movie can be satisfying.
~~~
Sunday, May 25, 2008
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