73 Best Movies by Female director On Cineplex Canada
You know you're in for a treat when you see Julia Louis-Dreyfus and James Gandolfini heading the cast of a sweet and slightly goofy comedy. Steadily going beyond his persona in The Sopranos, you see James Gandolfini playing a role that his fans have probably always imagined him playing: a nice, funny guy with an endearing personality. Directed by Nicole Holofcener, Enough Said almost has a sit-com feel to it: a divorced single parent and masseuse, Eva (Louis-Dreyfus), is looked up by a guy, she briefly met at a party, Albert (Gandolfini). Upon finding out they have much in common, the two start dating. At the same time, she meets Marianne (Catherine Keener), who she becomes friends with and who cannot stop talking ill of her apparently awful ex-husband. You guessed it: it's her new, promising date, Albert. Things get muddy and very funny as she starts to doubt, whether she has made a big mistake. Hilarious, romantic, and smart, it's very much like we expected: a real treat.
In All the Beauty and the Bloodshed, documentarist Laura Poitras (Citizenfour, My Country, My Country) lends her empathetic and incisive lens to a subject so passionate and imaginative, she ends up collaborating with Poitras to co-create the documentary about her life. The subject is Nan Goldin, one of the most influential photographers of the late 20th century.
The documentary captures Goldin’s work as a queer artist and anti-opioids activist, intertwining both aspects to tell a nuanced and incredibly important story about freedom, identity, and self-expression. This incredibly complex, encompassing, and vibrant feature won the top award at the Venice Film Festival, besting 19 other films from around the world.
In Aftersun, Sophie recalls a holiday she took as an eleven-year-old in the ‘90s with her father. Video recordings help jog her memory, but she’s looking for more than just a blast from the past. Rather, she seems to be seeking answers to fill in the gaps between who she knew as her father and who he really was: an immensely nice but deeply troubled man.
At first, Aftersun looks like a simple but beautiful story about father and daughter bonding over the course of a summer trip. But within minutes, it’s clear that there are layers to Aftersun, emotionally and editorially, that aren’t always explained but nonetheless enrich the movie with profound meaning. Stirring, complex, and surprisingly inventive, it’s not surprising that Aftersun is one of the most beloved films of the past year.
Many films have tried to decipher the indecipherable bond between mothers and daughters. Lady Bird, Everything Everywhere All at Once, and Turning Red, to name a few, center on this particular relationship, which to outsiders may seem strange at best and dysfunctional at worst. How can mothers yell at their daughters one second and coddle them the next? How can daughters treat mothers like their best friend and enemy all at once?
One of the best films to explore this complexity is Petite Maman, a fantasy-like film that brings together mother and daughter in a unique situation, forcing them both to regard the other in otherwise impossible ways. It succeeds where others haven’t precisely because it accepts that this relationship is beyond dissecting, and the only way to honor it is in the poignant, poetic, and otherworldly way that it does. It’s a quiet film that manages to say a lot, not least of which is that it’s okay to feel and love and hurt as much as one does.
At once intimate and sweeping, A Thousand and One seamlessly weaves Inez's personal turmoil and familial troubles with the systemic inequality that was rampant in '90s New York. The hideous faces of gentrification, poverty, and police brutality are constantly appearing in the film, not merely because they lend weight to the story, but because they are inevitable for people like Inez. People who, despite their best efforts at achieving upward mobility are continually pushed down by self-serving institutions.
It's easy for social issue dramas like this to buckle under the weight of their lofty goals, but nothing about A Thousand and One feels forced. Just the opposite, the film has an authentic quality to it—almost documentary-like in its precise depiction of Harlem throughout the years. It's deeply personal and achingly tender, and everything else—the social commentary and the political beats—stems from that specificity.
A young bisexual woman attends a shiva, caught between her parents and their expectations, her ex, and her sugar daddy. Rachel Sennott’s Danielle is yet to find her path in life and everyone is determined to remind her of that. Taking place almost entirely in real-time, the film’s sharp wit is contrasted with constant anxiety, complemented by Ariel Marx’s horror-like score, full of discordant pizzicato that sounds like every last bit of sanity snapping.
It’s a sex-positive take on 20-something life, treating bisexuality as wholly unremarkable and passing no judgment on Danielle’s sugar daddy income. Its specificities about Jewish customs and traditions are non-exclusionary, while its social claustrophobia is achingly universal. It’s comforting in the way it portrays the social horrors we all face, the feeling that everyone but you has life figured out, and that – ultimately – those who matter will pull through, eventually. One of 2021’s best.
In Playground, we follow seven-year-old Nora as she navigates friends and school. Through her eyes (and often on her eye level), we witness her and her brother trying and often failing to fit in.
The film is an unfiltered account of their formative years, and possibly a reflection of our own. Commercials and kid-friendly media would have us believe that childhood is simple and pure, but the truth is it isn’t exempt from the major pitfalls of humanity. Children will mimic whatever they see, reasonable or otherwise, and the resulting order won’t always be ideal. Case in point: in the schoolyard, free of adult supervision, Nora and her peers push and tease and harass one another.
It’s painful but relatable, a microcosm of our own complicated world, and though the film doesn’t shy away from the cruelties of bullying, it’s also filled with moments of empathy and warmth.
Leave No Trace is the amazing new movie from the director of Winter's Bone, Debra Granik. It's the story of a father and his daughter who live completely off the grid in a national park in Portland, and their quiet quest to not be separated and remain off the grid. It's not the sensational, tear-jerker story that you'd expect something with this premise to be. Rather, and like Winter's Bone, it chooses a humane and realistic approach to the subject matter. The decision to live outside society is almost irrelevant to this movie. More so, its inevitability for certain people with certain mindsets is what is interesting. A stunningly quiet movie, really well-acted too.
It's heartbreaking to realize that Happening, a film set in 1960s France tracking a young woman's journey to dangerously and desperately terminating her pregnancy, is still very much relevant and relatable to this day. Around the world, abortion is still inaccessible, if not completely illegal, and women still struggle to lay full claim to their bodies. A lot of girls grow up with pregnancy statistics meant to instill fear, but Happening brings all that to brilliant life in intimate and unrestrained detail. The fears and wants of our protagonist Anne (played precisely by Anamaria Vartolomei) are palpable throughout. Nothing is held back in this film, and if you find yourself sick in parts, then it has achieved its goal of realistically conveying what it's like to stay alive in a society that fails to recognize your needs.
Three years before the Wachowskis released The Matrix, their debut, Bound, was already one of the most visually stunning crime thrillers of the 1990s. If you look at the film as a straightforward genre piece, it's as thrilling as the best of the genre: vulnerable heroines, suspenseful sequences taking place mostly in one enclosed location, and a plot driven by mind games and careful manipulation. Every scene is marked by one breathtaking image after another, from the atmospheric use of lighting and color to intelligently placed cuts linking the two protagonists together no matter how much they've been kept apart.
But Bound only takes on more meaning when you look at it through the queer and trans perspective that the Wachowskis undoubtedly placed over the film years and years before their own coming out. By focusing on how Violet and Corky (a captivating Jennifer Tilly, and a sensual Gina Gershon, respectively) use their femininity and their gender as tools to break free from these patriarchal gangster narratives, Bound becomes a timeless expression of queer yearning and freedom.
This is quite the movie. It’s based on the true story of Brady Jandereau, an ex-rodeo star who suffered from an injury that took him away from riding horses. This is the best part, in the movie, he actually plays himself. His friends in the movie are his real-life friends. And the horse taming scenes are real wild horses being trained (by him). The line between reality and the filmmaking process is so thin here. An absolutely mesmerizing movie, directed by Chinese filmmaker Chloe Zhao. The Rider. Don’t miss it.