#52FilmsByWomen 2019 Ranked & Reviewed

When I first learned of the #52FilmsByWomen pledge in late 2016, I was horrified to discover that I hadn’t reached the “challenge’s” quota naturally that year, despite my voracious movie-watching habits. Promoted by the organization Women in Film, #52FilmsByWomen is merely a pledge to watch one movie a week directed by a woman for an entire calendar year. It’s not at all a difficult criteria to fulfill if you watch movies on a regular routine, but so much of the pop culture landscape is dominated by (white) male voices that you’d be surprised by how little media you typically consume is helmed by a female creator until you actually start paying attention to the numbers. Having now taken & fulfilled the #52FilmsByWomen three years in a row, I’ve found that to be the exercise’s greatest benefit: paying attention. I’ve found many new female voices to shape my relationship with cinema through the pledge, but what I most appreciate about the experience is the way it consistently reminds me to pay attention to the creators I’m supporting & affording my time. If we want more diversity in creative voices on the pop media landscape, we need to go out of our way to support the people already out there who work outside the white male hegemony. #52FilmsByWomen is a simple, surprisingly easy to fulfill gesture in that direction.

With this pledge in mind, I watched, reviewed, and podcasted about 52 new-to-me feature films directed by women in 2019. The full inventory of those titles can be found on this convenient Letterboxd list (along with a re-watch of Goodnight Mommy for our “Good Torture Porn” episode of the podcast). Each film is also ranked below with a link to a corresponding review, since I was using the pledge to influence not only the media I was consuming myself, but also the media we cover on the site. My hope is that this list will not only function as a helpful recap for a year of purposeful movie-watching, but also provide some heartfelt recommendations for anyone else who might be interested in taking the pledge in 2020.

5 Star Reviews

Strange Days (1995), dir. Kathryn Bigelow – “Incredibly prescient about the way virtual reality technology, misogynistic abuse in the entertainment industry, and documentation of systemically racist police brutality would play out in the following couple decades. Bigelow frames the social & political crises of the 1990s as the beginning of the End Times. The scary thing is that it feels like we’re still living in the exact downward trajectory depicted onscreen.”

Smithereens (1982), dir. Susan Seidelman

When I Get Home (2019), dir. Solange Knowles

Blood & Donuts (1995), dir. Holly Dale

4.5 Star Reviews

Messiah of Evil (1973), dir. Gloria Katz – “You can approximate a nearly exact equation of what genre pieces were assembled to create its effect; it plays like a post-Romero attempt at adapting ‘Shadows over Innsmouth’ as an American giallo. However, you can’t quite put your finger on how these familiar pieces add up to such an eerie, disorienting experience. That’s just pure black movie magic, the goal all formulaic horrors should strive for but few ever achieve.”

Blue Steel (1990), dir. Kathryn Bigelow

Homecoming (2019), dir. Beyoncé Knowles

4 Star Reviews

Stripped to Kill II: Live Girls (1989), dir. Katt Shea – “In its most surreal moments, Stripped to Kill 2: Live Girls is like a psychedelic, Kate Bush-inspired porno where the performers took too many hallucinogens and accidentally slipped into interpretative dance when the script said they should bone. At its worst it’s low-energy Skinemax sleaze, which can be charming in its own way. In either instance, it’s way more entertaining & bizarre than the first Stripped to Kill film, despite their shared penchant for poorly aged, queerphobic conclusions.”

Punisher: War Zone (2008), dir. Lexi Alexander

Gully Boy (2019), dir. Zoya Akhtar

Aniara (2019), dir. Pella Kågerman

High Life (2019), dir. Claire Denis

Paradise Hills (2019), dir. Alice Waddington

Hail Satan? (2019), dir. Penny Lane

I Am Not a Witch (2018), dir. Rungano Nyoni

Yellow is Forbidden (2019), dir. Pietra Brettkelly

Can You Ever Forgive Me? (2018), dir. Marielle Heller

The Farewell (2019), dir. Lulu Wang

Jezebel (2019), dir. Numa Perrier

Confessions of a Suburban Girl (1992), dir. Susan Seidelman

Braid (2019), dir. Mitzi Peirone

Buckjumping (2019), dir. Lily Keber

Booksmart (2019), dir. Olivia Wilde

3.5 Star Reviews

Greener Grass (2019), dir. Jocelyn DeBoer, Dawn Luebbe – “Whether it’s grossing you out with the moist, passionless sex of its suburbanite goons or it’s breaking every known rule of logical storytelling to drive you into total delirium at a golf cart’s pace, the film is uniquely horrific & punishing – and hilarious. You should know approximately thirty seconds into its runtime whether or not its peculiarly antagonistic humor is something you’ll vibe with; there’s just very little that can prepare you for what it’s like to experience that aggressive irreverence for 100 consecutive minutes.”

The Breaker Upperers (2019), dir. Madeleine Sami, Jackie van Beek

Desperately Seeking Susan (1985), dir. Susan Seidelman

This Magnificent Cake! (2019), dir. Emma De Swaef

Steven Universe: The Movie (2019), dir. Rebecca Sugar

Knives and Skin (2019), dir. Jennifer Reeder

The Banana Splits Movie (2019), dir. Danishka Esterhazy

Slut in a Good Way (2019), dir. Sophie Lorain

Tenement (1985), dir. Roberta Findlay

Ladyworld (2019), dir. Amanda Kramer

Share (2019), dir. Pippa Bianco

Hunting for Hedonia (2019), dir. Pernille Rose Grønkjær

Nancy (2018), dir. Christina Choe

Cassandro, the Exotico! (2019), dir. Marie Losier

The Field Guide to Evil (2019), dir. Veronika Franz, Katrin Gebbe, Agnieszka Smoczyńska

3 Star Reviews

Spookies (1986), dir. Genie Joseph – “Fractured across two separate production crews and held together only by its central haunted house locale, this is effectively a creature feature horror anthology: a series of disconnected vignettes that each present a spooky-creature-of-the-minute for our temporary enjoyment.”

Disco Pigs (2001), dir. Kirsten Sheridan

Stripped to Kill (1987), dir. Katt Shea

Captain Marvel (2019), dir. Anna Boden

Dumplin’ (2018), dir. Anne Fletcher

Satanic Panic (2019), dir. Chelsea Stardust

Psycho Granny (2019), dir. Rebekah McKendry

Riot Girls (2019), dir. Jovanka Vuckovic

Daddy Issues (2019), dir. Amara Cash

Origin Story (2019), dir. Kulap Vilaysack

Would Not Recommend

The Loveless (1981), dir. Kathryn Bigelow

Detroit (2017), dir. Kathryn Bigelow

Always Be My Maybe (2019), dir. Nahnatcha Kahn

Fyre Fraud (2019), dir. Julia Willoughby Nason

-Brandon Ledet

Leave a Reply

Fill in your details below or click an icon to log in:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out /  Change )

Google photo

You are commenting using your Google account. Log Out /  Change )

Twitter picture

You are commenting using your Twitter account. Log Out /  Change )

Facebook photo

You are commenting using your Facebook account. Log Out /  Change )

Connecting to %s