Celebrating Athena Film Festival Throughout March 1st - 31st 2021

For the past eleven years, the Athena Film Festival has been the premiere festival to amplify women's leadership through film as well as provide in-depth conversations with industry experts. The festival works in conjunction with Barnard College's Athena Center for Leadership and Women and Hollywood to shift the cultural conversation of stories told of women.

In celebration of March as Women's History Month, I'm excited to cover the event virtually. In the upcoming weeks, I'll be providing reviews of a wide variety of shorts to documentaries and feature film screenings, which includes:

• Beans, directed by Tracey Deer. A twelve-year-old Mohawk Girl torn between innocent childhood and reckless adolescence as she grapples with her experiences of community, activism, and racism during the Indigenous uprising of 1990 known as The Oka Crisis.
• Mama Gloria - an intimate portrait of a trailblazing 73-year-old black transgender woman who transitioned before Stonewall, started a charm school for transgender youth in her 60s and is aging with joy and grace.
• Ava & Bianca - a short documentary film directed by Rachel Fleit that portrays the profound friendship between Ava Benjamin Schorr and Bianca Cline who are both transgender female cinematographers.

If you'd like to learn more about the festival or explore the programming, visit the official site here. Here's more information regarding the festival per the official festival press release:

Over the past ten years, the Athena Film Festival has established itself as the premier festival dedicated to celebrating and elevating women’s leadership. Our festival highlights films showcasing women’s leadership from underexplored perspectives; women leading in all places and spaces who are resisting and refuting preconceived notions of all they can be and do. Through our Parity Pipeline Program we are bolstering the pipeline of women creatives who are telling these stories and fostering a network of women in film.

The Athena Film Festival is a joint project of Barnard College’s Athena Center for Leadership and Women and Hollywood. The festival’s founding sponsor is the Artemis Rising Foundation and its CEO Regina K. Scully.

The 11th Annual Athena Film Festival, a joint partnership between Barnard’s Athena Center for Leadership & Melissa Silverstein’s WOMEN IN HOLLYWOOD. The festival will also feature an International Women’s Day Program and a number of conversations and panels discussing film, women in the entertainment industry, and equality in Hollywood and beyond.

The Athena Film Festival (AFF) at Barnard College announced its opening night film and lineup of programming for the 2021 festival today. The 11th annual festival, a joint partnership between Barnard’s Athena Center for Leadership and the initiative Women and Hollywood, will take place virtually from March 1st through March 31st. The annual festival includes film screenings, in-depth conversations with filmmakers and industry experts, a series of programs that support the pipeline of women creatives, and a wide variety of events focused on celebrating and amplifying the stories of bold, courageous women leaders.

“While planning this year’s festival, we wanted to prioritize relevant and timely films that spoke to the pandemic, the Black Lives Matter movement, and the myriad ways we’ve experienced our world shift this year. We were also focused on inclusion – building on our history of featuring new and diverse voices and challenging the status quo to lead the industry forward” said Melissa Silverstein, Co-Founder and Artistic Director of AFF and founder of Women and Hollywood. “I think we’ve done that. The films and conversations at this year’s festival will tackle complex, emotional, and diverse subjects with voices from across the industry. While this year’s festival will feel very different, I could not be more proud of the incredible slate of programming which is 90% women and nonbinary directors and 51% women and non binary directors of color that we will bring to our audiences across the United States for the 11th annual edition.”

Thursday Movie Picks - TMP Television Edition: Love Triangles

Wandering Through the Shelves hosts Thursday Movie Picks. It's a weekly series where bloggers post and share various movie picks every Thursday. 

The rules are simple: based on the theme of the week pick three to five movies and tell us why you picked them. For further details and the schedule visit the series main page here.

This week is TMP Television Edition: Romance Tropes / TMP Television Edition: Love Triangles.

Thursday Movie Picks - Romance Tropes Edition: Forbidden Love

Wandering Through the Shelves hosts Thursday Movie Picks. It's a weekly series where bloggers post and share various movie picks every Thursday. 

The rules are simple: based on the theme of the week pick three to five movies and tell us why you picked them. For further details and the schedule visit the series main page here.

This week is TMP Television Edition: Romance Tropes Edition: Forbidden Love.

52 Films By Women Challenge - The Love Witch and Love & Basketball

In 2015, the Los Angeles' Women in Film started a challenge to watch one film by a female director every week for a year. I've seen this floating around social media and movie blogs for a while, and always meant to join in. For 2021, I finally decided to try it out this year as one of my resolutions.

Every week I thought it'd be fun to do a quick round-up of the film(s) I've watched for the challenge. The films I chose for the challenge are on letterboxd - if you want to see the slate so far - but I'm not going in an particular order of alphabetical or chronological.

My next two films is The Love Witch (2016) and Love and Basketball (2000). I've been dealing with some health and personal stuff lately, so of course I'm falling behind posting these again. I might make this weekly catch-up into a bi-weekly routine instead to give me time to write and post my thoughts.

5 Swoon-Worthy Romantic Gestures in Movies

Romanticmovies have the power to make us believe in the power of love or at least give us high expectations for the gifts we can share on Valentine's Day to show how much they mean to us. 'Tis the season to overestimate what Cupid has in store. So I thought it'd be fun to share my favorite romantic gestures from movies...that has set some impossible standards.

Thursday Movie Picks - Romance Tropes Edition: Friends to Lovers

Wandering Through the Shelves hosts Thursday Movie Picks. It's a weekly series where bloggers post and share various movie picks every Thursday. 

The rules are simple: based on the theme of the week pick three to five movies and tell us why you picked them. For further details and the schedule visit the series main page here.

This week is  TMP Television Edition: Romance Tropes Edition: Friends to Lovers. I inadvertently went for a superhero theme this week. Blogger is giving me a tough time uploading pictures, so this will be gif-free until I can add them in later.

Ruth: Justice Ginsburg In Her Own Words (2021)

“I’ve seen opinion polls that more people can name the Seven Dwarves than can name justices on the United States Supreme Court. “ – Dean Erwin Chemerinsky from Berkeley Law School opens an upcoming documentary directed by Academy Award winning director Freida Lee Mock. The obvious twist here is that if there’s one definitive iconic figure that hails from the Supreme Court Justice and we know of is Ruth Bader Ginsburg. 

From the famous meme of Notorious RBG to Saturday Night Live skits portrayed by Kate McKinnon and her history of breaking the class ceiling, she’s gained special notoriety in the general public over the past several years that makes her one of the most popular and empowering figures in U.S. government. How and why we know her name is as widely recognized as it is is exactly what Mock sets out to cement.

Ruth: Justice Ginsburg In Her Own Words uses previously televised events and interviews with  Ginsburg to explore her career. It begins with the line questioning she faced to be nominated as a Supreme Court Justice and the process of being sworn in by former president Bill Clinton. The centerpiece of the film leads with Ginsburg meeting with student groups inquiring about her career so far (in the mid 90s) and her outlook on the future such as the possibility of a female president. 

Using her observations the documentary taps into her achievements and the challenges she faced with "three strikes against her" as a person of the Jewish faith, a woman, and a mother who would go on to use her identity to persevere as a lawyer, working for ACLU, and eventually to earn the stature she’s recognized with today. What was used against her to keep citizens in line with outdated and prejudice laws, she used to the best of her abilities to help others attain their full rights in the face of gender, religion, and race discrimination. When original footage or photographs aren’t used, illustrations step in to elaborate on the court proceedings of cases she fought for. Ginsburg offers her unique perspective about what she was proud the wide range of cases that she was proud of and those that helped her cause as she furthered her career - one in particular includes a father working part-time and was denied social security to care for his infant son after his wife passed away.

More than merely showing how Ginsburg effected the clients she represented, Ruth: Justice Ginsburg In Her Own Words also shows the effect she had on people directly or were inspired by her impact. Interviews with those who worked with her such as a law clerk Goodwin Liu, former law volunteer M.E. Freeman, Cadet Jennifer Connolly who was able to attend Virginia Military Institute after the court ruled to expand its male-only enrollment to women, meme creator of Notorious R.B.G. Shana Knizhnik and author Irin Carmon, offer more insight into the woman behind the icon from her love of opera to her marriage to her husband Marty. Real life examples of the cases Ginsburg were apart of are also used. In one prominent case of United States v. Virginia, the Supreme Court Justice ruled in favor of Virginia Military Institute extending its males-only enrollment to include women. 

Ruth: Justice Ginsburg In Her Own Words revolves around some of the same topics as another documentary titled RBG, which was released in 2018 and focused on a chronological examination of her life from birth to (then) present-day. Most of the latter likewise unfolds in a linear fashion, but focuses more on containing the narrative to Ginsburg's career ambitions, pursuit for equal rights for all, and expanding the court to include more women. The two documentaries share the same subject matter, but Mock creates a worthwhile film to be enjoyed on its own or as a companion piece. Ruth: Justice Ginsburg In Her Own Words instills a needed message of inspiration to those who dare to follow in her footsteps and become the next generation of dissenters. 

Rating: ★★1/2☆

Please Note: I was provided with a screener to provide an honest review.Ruth: Justice Ginsburg In Her Own Words is available in virtual cinemas on 2/12 and TVOD on 3/9. STARZ will also air the documentary on 3/15 at 8 PM ET/PT on what would have been Justice Ginsburg’s 88th birthday.

Thursday Movie Picks - Romance Tropes Edition: Fake Relationship

Wandering Through the Shelves hosts Thursday Movie Picks. It's a weekly series where bloggers post and share various movie picks every Thursday. 

The rules are simple: based on the theme of the week pick three to five movies and tell us why you picked them. For further details and the schedule visit the series main page here.

This week is TMP Television Edition: February 4 - Romance Tropes Edition: Fake Relationship.

Quick Reviews: Shows I Watched In Lockdown (Part 3)

I can't believe it's been a year since the Coronavirus lockdown started.  I thought this post would be an one-and-done deal, but here we are on part three. 

Below are my quick reviews of general shows - not really series - I watched over autumn/winter. Spoilers are included for The Bachelorette, football, game shows, and Atlanta.

52 Films By Women Challenge - Professor Marston and The Wonder Women (2017) and D.E.B.S. (2004)

In 2015, the Los Angeles' Women in Film started a challenge to watch one film by a female director every week for a year. I've seen this floating around social media and movie blogs for a while, and always meant to join in. For 2021, I finally decided to try it out this year as one of my resolutions. 

Every week I thought it'd be fun to do a quick round-up of the film(s) I've watched for the challenge. I'm still playing catch-up to post my thoughts from the past few weeks. My next two films are directed by Angela Robinson - Professor Marston and the Wonder Women (2017) and D.E.B.S (2004).

Thursday Movie Picks Television Edition: 2020 Freshmen Series

Wandering Through the Shelves hosts Thursday Movie Picks. It's a weekly series where bloggers post and share various movie picks every Thursday. 

The rules are simple: based on the theme of the week pick three to five movies and tell us why you picked them. For further details and the schedule visit the series main page here.

This week is TMP Television Edition: 2020 Freshmen Series - shows that had their first season last year. I discovered during lockdown that I'm not an avid binge-watcher as I thought I would be. My picks were pretty limited, and I wasn't crazy about these. I would not blame anyone for just skipping this post.

52 Films By Women Challenge - A Beautiful Day in the Neighborhood (2019) and Troop Zero (2019)

In 2015, the Los Angeles' Women in Film started a challenge to watch one film by a female director every week for a year. I've seen this floating around social media and movie blogs for a while, and always meant to join in. For 2021, I finally decided to try it out this year as one of my resolutions. 

Every week I thought it'd be fun to do a quick round-up of the film(s) I've watched for the challenge. The films I chose for the challenge are on letterboxd - if you want to see the slate so far - but I'm not going in an particular order of alphabetical or chronological. 

Since I started writing this series late, I'm playing a little bit of catch-up. My next two films are A Beautiful Day in the Neighborhood (2020) and Troop Zero (2019)

Thursday Movie Picks - Police Detective

Wandering Through the Shelves hosts Thursday Movie Picks. It's a weekly series where bloggers post and share various movie picks every Thursday. 

The rules are simple: based on the theme of the week pick three to five movies and tell us why you picked them. For further details and the schedule visit the series main page here.

This week is Police Detectives. 

One Night In Miami (2021)

There are moments where we'd do anything to know what the walls would say if they could talk. Sometimes films gives us the opportunity to piece together history as best as possible or simply imagine what might've been. For Regina King making her directorial film debut, she sets her sights on capturing a seemingly everyday get-together that just so happens to feature four of the 20th Century's biggest icons.

Based on a fictional account of a real event,  boxer Cassius Clay (Eli Goree), football player Jim Brown (Aldis Hodge), singer Sam Cooke (Leslie Odom Jr), and activist Malcolm X (Kingsley Ben-Adir) join together for an evening in Miami, Florida. The former three assume their reunion is to celebrate Clay winning his first world heavyweight championship bout, but Malcolm X has a more laid-back idea in mind - ruminate about their lives including faith, racism, Black excellence, and their futures.

Similar to a musical, dialogue-driven films can be hard to suspend our disbelief, especially when it's based on a play. One location with a limited amount of characters can feel heavy-handed. It might not be the biggest source as a box office draw or draw the most amount of movie-goers, but it’s a good start for a Hollywood veteran to make her mark behind the camera.

As an ensemble, each actor shines individually and together as a group. Though One Night In Miami centers around four historical figures, a good portion of the story belongs to Malcolm X and Sam Cooke. Abdir maintains a good sense of Malcolm X with the familiar "prophet-mode" reputation he's popularly recognized for and the emotional toll of seeking Black excellence for all - you could say the movie is told mainly through how he sees his fate and struggles with the finality of his friends' influence enduring long after they're gone. Odom Jr. completely breaks free of his performance of Hamilton's Aaron Burr, letting us see Cooke as the powerful yet conflicted icon he was and still is. Their fellow castmates - Eli Goree and Aldis Hodge are just as influential but are used more subtly. Clay could've been a caricature, but Goree makes him well-rounded as well as boisterous and spirited; Hodge gives a soft yet stern performance to Brown - he isn't given much to do, but when he's on-screen, it's hard to turn your attention to anything else. This isn’t to say that Goree and Hodge aren’t as influential, but they’re more like tag team partners used to be the voice of reason as the tension builds between the main duo.

If we know who these men are by hearing or reading their name, the film doesn’t buy into making them larger-than-life or using their names for clout. Over the film’s running time, screenwriter Kemp Powers (who also wrote the play) captures what could’ve occurred between the four friends since no record of the conversation or what happened exists. The Civil Rights movement serving as the film's setting naturally invites a reflection of our current social and racial climate, but doesn't make the characters or what they express too over-the-top or heavy-handed. Powers explores a wide breadth of experiences and choices that let us see their vulnerabilities as real human beings and their influence as future icons, and does so with an equal amount of banter and tension that makes their evening together intriguing and entertaining.

One Night In Miami relies mostly on script and actors to hold your interest, but this doesn’t count King out as a solid director. The film might not helm a huge budget or showcase all the style in the world for the story, but she and her team (cinematography, costume design, and production design in particular) know exactly what they want – where the camera should be, the seamless blocking, etc. Even though it’s based on a play, it doesn’t feel like King forcefully wants you to feel like you’re at the theatre. Instead she lets the characters become three-dimensional on their own and works with them or around them, and leaves you with an impression of how the evening would unfold realistically and on stage. The film isn’t the darkest drama, riotous comedy, or meatiest biopic, but it’s an engaging exhibition of her efforts in front of, and now behind the camera, that's been worth the wait.

Rating: ★★☆

Have you seen One Night In Miami? What did you think?

One Night In Miami is now on Amazon Prime.

Thursday Movie Picks - 2020 Releases

Wandering Through the Shelves hosts a fun series Thursday Movie Picks. Every week spotlights a different theme for bloggers to choose 3-5 picks. This week is 2020 Releases. I have so many movies to catch up with, these picks came pretty easily,  but I'm afraid I'll find other movies I like more in the upcoming month that I'm desperately trying to catch up with that could've been here instead. Either way, here are a few random releases I enjoyed.

Honorable mention: I was going to include Portrait of a Lady on Fire since I saw it in theaters right as the pandemic started...but it was officially released in 2019. I didn't know it would count? Oh well.

52 Films By Women Challenge - The Edge of Seventeen (2016)

In 2015, the Los Angeles' Women in Film started a challenge to watch one film by a female director every week for a year. I've seen this floating around social media and movie blogs for a while, and always meant to join in. For 2021, I finally decided to try it out this year as one of my resolutions.

Every week I thought it'd be fun to do a quick round-up of the film(s) I've watched for the challenge. 

My first film is The Edge of Seventeen (2016)

2021 New Years "Goals" + Looking Ahead

It's 2021. I don't know what else to say.

Thursday Movie Picks - Oscars Winners Edition: Best Picture

Wandering Through the Shelves hosts a fun series Thursday Movie Picks. Every week spotlights a different theme for bloggers to choose their picks. I've seen this around the blogosphere before and thought I'd join in this year. 

This week is Oscars Winners Edition: Best Picture. 

There are so many Best Picture winners to choose from, but I chose what I consider to be underrated winners. I didn't necessarily choose these in comparison to what was potentially snubbed that year. I decided to look at winners versus what else was officially nominated that year and how far movie goers' reception has changed since.

So, Tenet (2020) Happened

CIA Agent and the Protagonist (John David Washington) is given a word – tenet – and the objective to  trail a Russian oligarch Andrei Sator (Kenneth Branagh) who communicates with the future. As Sator sets his sight on obliterating humanity, the Protagonist does everything he can to save the world with the help of a fellow agent official Neil (Robert Pattinson) and Sator’s estranged wife (Elizabeth Debicki).

“Don’t try to understand it,” as scientist (Clemence Posey) declares in Tenet, the most concise way to approaching a Christopher Nolan film. You know that you’re going to get characters navigating a timey-wimey unraveling plot filled with exposition, amazing stunts, an ear-blasting score, and a suitable cast to carry it all on their shoulders. Where Nolan slightly fails with his latest mind-boggling adventure is with the following phrase, “feel it.” 

Ironically, everything here is right out of Nolan’s staple of work. Similar to the clique of Inception led by Leonardo DiCaprio, Tom Hardy, and Jordan Gordon Levitt (or any of his previous casts), this ensemble meshes well together. John David Washington’s charisma draws out a tedious conflict with Kenneth Branagh, a friendly camaraderie with Robert Pattinson, and trusting warmth with Elizabeth Debicki. Despite the heftiness of Nolan’s script, they make a suitable crew who are easy to watch as their various cahoots unfold. Nolan also always packs his films with tactile stunts you won’t find anywhere else. With a story that helms the concept of moving forward and backward in time, there are sequences here that are on the same level of “the kicks” in Inception or the race to dock the Endurance in Interstellar - they'll baffle you with their practical effects yet ingenious execution. And instead of a dynamo score by the always-reliable composer Hans Zimmer, Nolan steps out of the box with Ludwig Gorannsson, who crafts an action-packed futuristic score that also blows out the dialogue.

Even though Tenet has these elements that are fun on their own, where the film goes “wrong” is how little there is to care about anything. While Nolan's plots are always a source of confusion for movie goers, I hate to flex I've never particularly struggled with them. So, Tenet isn't that hard to follow when the concept boils down to a cat and mouse chase locked in a time loop. But the script is too concerned with battening down the hatches to drop exposition and a completely forgettable subplot of an arms dealer using The Protagonist for their own means, that the story is left dry and cringe-worthingly cliché. 

What works in favor for Tenet also works against it. Unlike his previous films where the hero had some semblance of humanity tying him to the world outside of saving it or a decent redemption arc, The Protagonist is the hero not because of some special inner calling to care about anyone’s particular fate but mostly it’s his duty and he’s the best at it; Neil shows up to begin and continue their beautiful chaotic friendship whenever he’s needed; Andre comes across as terrifying until his punishment via global annihilation falls down the trap of a 1960s Bond villain; Katharine is limited as the abused wife who is treated as a damsel-punching-bag for 2/3 of the story until she can “save herself” and the world (honestly one of the most offensive female roles I've ever seen). The cast does well with their roles but mostly because of they're given to work with. The action scenes are good, but they’re also too sparse to outdo what other end-of-the-world flicks have done before and more entertainingly. 

Tenet is memorable for Nolan continuing his reputation to conjure a labyrinth of ideas, and there’s nothing wrong with the fact that this is his niche. But a complex film is not necessarily smart if the most resounding reaction is either confusion or accusations that everyone else who dislikes the film is  not smart enough to understand. Contrary to common film bros' defense of Nolan, some to most movie goers understand what he’s delving into - we've just learned to accept that intricate concepts without a satisfying pay-off aren't always worth our time.

Rating: ★☆☆

Have you seen Tenet? What did you think?

Evermore (2020) is a fitting sister album for folklore

During the summer of the 2020 apocalypse, nothing surprised Swifties more than when Taylor Swift dropped a surprise album. folklore received some of the best reviews of the year and her career so far – inspiring fans and critics about the type of art that can spring out of such a crushing pandemic. And then fast forward half a year later, and Swift with Aaron Dressner dropped an early holiday bombshell with a sister album called evermore.

If folklore showed Taylor Swift in all of her folksy might, evermore takes a twist for a mix of old-fashioned whimsy and witchiness-inspired country. Evermore doesn’t quite pick up where folklore left off – it’s not copying or continuing stories from her previous album but parallels can be drawn between tracks if you want to dig deeper - and us Swifties have been trained to dig deep. This time around her music takes more of an upswing than a haunting melancholy with tales about Hollywood stars coming home for the holidays (tis the damn season), a small town crime between friends (no body, no crime), and bandits falling in love (cowboy like me). She also uses a similar storytelling technique with heftier imagery sprinkled throughout the chorus and verses, and packing in the bridges with everything she’s got.

To describe the two albums together, I’d say folklore feels like a foggy winter morn. It’s an album of reflection and reminiscing about rage, euphoria, young love, and trying to find stability in the middle of jagged relationships and crazy times. It maintains a 1970s feel in a lot of ways like Joni Mitchell and Carole King, where her cadence blends in with the beat and one-of-a-kind melodies. Evermore, on the other hand, captures melancholy in the summer as it fades into fall, describing stories in the present moment rather than looking back with as much woe or angst. At first, it doesn't feel like a country album, but over time, it will become more obvious just how much it can be considered a more mature sibling to Red. Evermore might still maintain a running theme of unrequited love or broken relationships, but the rhythm allows the lyrics to mold to the beat or act as poetry over the music. The two together are a dynamo duo - it's only a question of which on you prefer.

Though the two share a lot of similarities, the biggest difference for me is how it's taken me longer for evermore to resonate. When folklore dropped, I was instantly emotional about several songs on the initial and subsequent listens. Even though my top 5 rankings are much the same, I don’t skip any tracks and even my least favorites have grown on me. It's a perfect album. That type of progress is a  struggle with evermore. The themes of yearning for a loved one, the fundamental differences between two people that divides them, finding closure, etc. with self-recriminating insight starts to feel repetitive no matter how many poetic ways Taylor expresses herself. Half of the album become definite re-listens, while I don't seek out other songs or might skip halfway through them.

Swift and Dressner manages to produce a sound that is light on the ears as well as in-depth storytelling that makes you reconsider all of the different angles, and will certainly define the holiday era of the pandemic. And that's perhaps the hiccup evermore runs into - Taylor's so ahead of her own curve it becomes a sphere, where a lot of the tracks hit a comfortably catchy groove but don't land as surprisingly or as uniquely as folklore. In true companionship fashion, plenty of songs fit alongside each other but you'll left wondering how the runner-up compares to the original. While it's harmless to want more of a great thing, it doesn't mean it will be great itself.

RATING: ★★☆

Have you listened to evermore? What did you think?

My thoughts on the individual songs with a ranking of faves is below.