Excellent films have conquered the big screens of everyone in this 2022 return to the great cinema box office after months of uncertainty due to the pandemic. And an important fact that I thought about, with each new film I saw, is that the female presence in the direction grows each year more in an eternal struggle within an audiovisual market that is still very sexist. With this in mind, I decided to create a list of 10 films directed by women (including great Brazilian filmmakers) that I have seen so far in 2022:
Coal
A clash between two worlds is the combustion that takes us down a road of conflict and different choices, where the paradox between impulsiveness and premeditation becomes a heartbreaking reflection of human nature. Written and directed by São Paulo filmmaker Carolina Markowicz (in her first feature film), Carvão plays on screen with contradictions camouflaged by moral dilemmas and the hypocrisy of judgment for those who arrive and for those who are behind. epicenter of this story that takes place in a humble home inside our country. Surprising until the last minute, we witness another great work of Brazilian cinema.
Have fun watching:
The worst
Winner of Un Certain Regard at Cannes, the French feature film Les Pire takes us on an emotional sway in a deep story about young people from a French district called during the summer to direct a feature film. The point here is that your characters in the film end up having an impactful relationship with their reality in a world full of ups and downs. Exquisite work by filmmakers Lise Akoka and Romane Gueret. One of the best films in the Rio Film Festival selection this year.
Rule 34
Winner of the Golden Leopard at the Locarno Festival this year, the Brazilian feature Regra 34 is a shocking project that manages to unite in a single trajectory important reflections of our society, interpretations of laws, women’s rights, violence under certain points of view, with the infinite universe of the desires related to the virtual drives. Filmmaker Julia Murat manages with her strong protagonist (played by the great Sol Miranda) to take us through 100 minutes of hard-hitting dialogue and action. Rule 34 is a film that takes time to slip out of our minds, there is a constant reflection on the major topics covered, especially on the different perspectives of violence. The project is part of the selection of the Rio 2022 Festival and also of the São Paulo International Film Festival of the same year.
Exile
Directed by filmmaker Maria Clara Escobar, in her first fiction feature as a director, the film takes us into the story of Laura (Carla Kinzo) who has been in a relationship for eight years with Israel (Otto Jr.) with whom she has a son. . She finds herself paralyzed several times by doubts and ways of apprehending her life. Plus, figuring out a place she’s already tried too hard to look at ends up being the breaking point that arrives for the character. One day, she decides to leave home, embarks on an unannounced journey, leaving Israel and her son, in search of reconnecting with herself. The images here speak volumes, often without words, it’s a deep cut that can often seem like a headache to the viewer as the narrative revolves around a character in conflict.
good luck big lion
Breaking paradigms through engaging dialogues. Directed by Australian filmmaker Sophie Hyde and with a script by British director Katy Brand, Boa Sorte, Leo Grande is about a friendly clash of generations, which also opens learning gaps, between a woman in her fifties years who knew only one man in bed and a young man who uses his body as a working tool. During the little more than an hour and a half of projection, we follow a strong harmony between the characters who find themselves for a few days in the same hotel room. It seems that we are in the front row of a room where the dialogues captivate us and make us reflect on the two intriguing characters.
inland sea
A powerful clip about motherhood. Seeking to carry the transformations of the body and the life of a strong protagonist, the gaucho filmmaker Dainara Toffoli confronts us with several questions that revolve around motherhood. In doubt about almost everything around her, the main character, brilliantly played by Monica Iozzi, seeks to take one step at a time into a universe of possibilities. Her suffering turns into mourning in a twist that the plot presents to us, causing an increasingly intimate cut of a woman in search of the best solutions within the variables that are in her present.
Costs
Conflicts against a secret world, almost unimaginable. A movie that arrived in the Star+ catalog in March that does a great job of hiding its layers of conflict with thought-provoking characters and somehow defeating questions about relationships. Over almost two hours of projection, and with about half an hour between the first scene and the opening credits, we follow the epic of a young woman, with a rotten finger for relationships, confronted with an unusual situation. The surprises in the script really leave the film very tense. Directed by filmmaker Mimi Cave and written by Lauryn Kahn.
life after
The sequel to the drama. Seeking to portray a 16-year-old girl’s post-traumatic period after the terrible events she witnessed at her school, Life After is a deep drama about choices, discoveries, and the countless ways to navigate trauma. The relationship with friends, family, fear, anxiety, truths of feeling are hidden, trapped inside a young woman who saw everything differently until what happened. Written and directed by Canadian filmmaker Megan Park, making her feature film debut, starring actress Jenna Ortega.
Lullaby
Presented at the Berlin Festival’s Panorama Show and selected at the Rio Festival, Lullaby takes us on a profound journey of a strong protagonist, full of conflicts around the arrival of her first daughter, and also reunions with her past beyond. beyond the surprises that pass your way. Written and directed by Spanish filmmaker Alauda Ruiz de Azúa, the film, extremely sensitive, delicate, intelligently surrendering to melancholy, is a contemporary cut of motherhood.
Don’t worry, my dear
An experience within an existentialist manipulation. In this sentence we can define everything we see in the little more than two hours of screening of the filmmaker’s project, and also of the actress, Olivia Wilde, Don’t worry, honey. The perfection and harmony of everything around the protagonist attract the viewer’s attention from the first minute and little by little we understand better a series of mysteries that follow one another in this curious project that touches in some points the feeling of the universe of the 2022 series. , Pause.
