Archive | Feminist Matters

Age and ‘Aquarius’

claraOne of my favorite freelance gigs is giving talks to local cinema clubs. The groups mostly are comprised of people over 50, which is my preferred demographic of human beings. As Louis CK once said, “Even the dumbest seventy-year-old is going to have seen more than the smartest twenty-year-old.” The following is a lecture I gave to a Westchester club about “Aquarius,” a long, demanding film that nonetheless held us rapt.

“Aquarius,” a film about Clara (Sonia Braga), a retired Brazilian music critic’s battle to keep her apartment despite pressure from real estate developers and her own family, is about so many things at once. It is a revenge thriller of sorts. It is a treatise on real estate development, greed, and the politics of housing, an issue we also are confronting here in the United States. It is is a rallying point for the Brazilian left, as many citizens in that country identify Clara with the Brazilian president impeached earlier this year in what many describe as a right-wing legislative coup d’état. But most importantly, at least to me, “Aquarius” is an unhurried, almost luxuriant portrayal of a complex sixtysomething woman who has led a very full life, and is still healthy and engaged enough to have many more years of joy and pains ahead of her. Continue Reading →

Nasty Woman Home Network

nasty womanThis morning I set up a new wireless network for Gracie Rosmansion. My Internet had been acting funky and after protracted wrangling with Time Warner Spectrum Whatever, it became apparent my router had punked out for good. Setting up a new one is the easiest thing in the world, but I confess I still felt a nutty sense of accomplishment. It wasn’t until middle age that I became a woman who did home repair and solved her own tech problems. Continue Reading →

A Hand for ‘The Handmaiden’

handmaidenAlthough I admire all adaptations that do their job well, I confess I have a soft spot in my heart for the truly creative ones – films that capture the essence of a book by transposing it into a seemingly unimaginable context. Its lavish, cruelly sensual flourishes may not be for everyone but “The Handmaiden,” South Korean revenge thriller director Park Chan-wook’s Korean- and Japanese-language take on Welsh novelist Sarah Waters’s Victorian-set romantic thriller Fingersmith, may be the best adaptation of this year. It is certainly the most innovative.

Set in 1930s Korea at the height of Japanese colonialism, the screenplay (crafted by Park and Chung Seo-Kyung) follows Waters’s triptych narrative structure as well as her basic premise. The first section is narrated by Nam Sook-hee (Kim Tae-ri), an orphan girl raised as a pickpocket by a human trafficker. A Korean gold-digger (Ha Jung-woo) posing as the Japanese Count Fujiwara (we never learn his real name) enlists her in his seduction of Hideko (Kim Min-hee), a Japanese heiress living with her guardian, Korean Uncle Kouzuki (Jo Jin-woong). The plan is for Sook-hee to gain Hideko’s confidence by working as her personal maid, and then commit her to a mental asylum once Fujiwara marries her so they can pocket her inheritance. What gums up the plan: the handmaiden falls head over heels for her mistress, with whom she shares a thrilling sexual chemistry. Continue Reading →

"All, everything I understand, I understand only because I love."
― Leo Tolstoy