On the platform of Netflix there are three debut films directed by women whose names are to be recorded in a hand-made paper under the title of “Directors to take into account” and paste it on the refrigerator door. They are Mati Diop, Kelly Fremon Craig and Coralie Fargeat.
The three demonstrate skill in the use of genres that address, as well as a critical look of the world. Atlantique (2019), My life at 17 (2016) and Revenge (2017) are films that, despite being very different from each other, have in common is knowing where to stand and what they want to show.
Here, why it’s worth it to skip the algorithm, to look for them and see them.
Ada in front of the sea
With a production between France, Senegal and Belgium, Atlantique, of the franco-senegalese Mati Diop, was presented last year at the Cannes film Festival and garnered good reviews. The movie raises so original a problem that not only suffer from the hometown of the director, the exploitation under the form of contracts that are not respected or paid.
Souleiman is a construction worker who escapes with his companions back to Spain in search of new job opportunities, because the company they work for doesn’t pay them for months. The boy is in love with Ada, the protagonist. The problem is that certain traditions of the muslim world to which they belong are forcing women to get married with a rich person that is going to ensure the economic well-being.
Here we have a love story conventional two young people whom their families are not permitted to consummate the desire to be together. However, the interesting part of the film comes when Diop introduces elements of fantasy that break the realism without breaking the verisimilitude of the plot.
With the return spectral-young, the director slips in a populism with a pragmatic and necessary. If one of the characteristics of capitalism today is its impersonality, Diop is optimistic and locate the person responsible and punish him.
As if they were a species of zombies, the girls possessed by the spirits of the workers tend to go to the mansion of the entrepreneur to tell them how things are. Diop understand that we are the masters of our future and that the cinema has the obligation to be a political weapon.
“My whole generation is a bunch of retarded. Literally gives you an attack if you take away the cell phone for a second”. It is not that the teenage american middle-class are as it says Nadine (Hailee Steinfeld), the protagonist of My life at 17but the world in which they lived made them believe that the only thing you can do is to spend all day with their cell phones.
Director Kelly Fremon Craig is aware of this and of the genus to which belongs to your film, which means that we will find the common places typical of the teen movies, but worked with solvency and effectiveness.
While the story I saw many times, enjoy it as if saw for the first time by the simple fact that is well told. My life at 17 entertains and engages because it has a sense of humor, good performances and characters lovable (as the professor, played by Woody Harrelson), who make it all work to perfection, especially the fights between brothers and friends.
At the peak, when Nadine finally makes the appointment with the guy of your dreams, the director, what he shoots with a sensitivity and resolves it in a convincing way (the uncomfortable scene takes place inside a car). Title mandatory for lovers of the comedies adolescents.
In 2017 there was a movie that quickly became a piece of cult. Revengewritten and directed by the French Coralie Fargeat, it’s like a candy chromatic irresistible, with a picture hypnotic by Robrecht Heyvaert and a protagonist off-road (Matilda Lutz in the role of Jen) that is reborn from the ashes how a phoenix to take vengeance on the three rapists/femicidas who made the mistake of throwing from a cliff.
Fargeat put into operation the machinery of narrative of the sub-genre “woman is raped that it comes” and turns his protagonist into a kind of Rambo/MacGyver that heals by itself in the middle of the desert with a can of beer in mexico and it comes from the three types that all fit the adjectives above written, in addition to unpleasant.
Revenge gets a slap in the face to the viewer in its tremendous world of pain and does not give you respite.
With images, hallucinatory and grotesque that express the perversion male and a soundtrack of electro-dance that intensifies the visual experience, Revenge gives way to a hunt for high-voltage gore, a bloody show which is never just entertainment and nothing more, but also a frenzied feminist manifesto.
There is a phrase anthological said by the main villain: “The women always have to give a fucking fight.” Masterpiece.