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Cannes 2021

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Cannes 2021

#1

Post by brokenface »

Opening Night Film
“Annette,” Leos Carax (also in Competition)

Competition
“Ahed’s Knee,” Nadav Lapid
“Annette,” Leos Carax
“Benedetta,” Paul Verhoeven
“Bergman Island,” Mia Hansen-Løve
“Casablanca Beats,” Nabil Ayouch
“Compartment No. 6,” Juho Kuosmanen
“Drive My Car,” Ryûsuke Hamaguchi
“Everything Went Fine,” Francois Ozon
“The French Dispatch,” Wes Anderson
“A Hero,” Asghar Farhadi
“La fracture,” Catherine Corsini
“Lingui,” Mahamat-Saleh Haroun
“Memoria,” Apichatpong Weerasethakul
“Nitram,” Justin Kurzel
“Paris, 13th District,” Jacques Audiard
“Par un Demi Clair Matin,” Bruno Dumont
“Petrov’s Flu,” Kirill Serebrennikov
“Red Rocket,” Sean Baker
“The Restless,” Joachim Lafosse
“The Story of My Wife,” Ildikó Enyedi
“Three Floors,” Nanni Moretti
“Titane,” Julia Ducournau
“The Worst Person in the World,” Joachim Trier
“Flag Day,” Sean Penn

Un Certain Regard
“After Yang,” Kogonada
“Blue Bayou,” Justin Chon
“Bonne Mère,” Hafsia Herzi
“Commitment Hasan,” Hasan Semih
“Freda,” Gessica Généus
“House Arrest” OR “Delo,” Alexey German Jr.
“The Innocents,” Eskil Vogt
“Lamb,” Valdimar Jóhansson
“Moneyboys,“ B.C Yi
“Noche de Fuego,” Tatiana Huezo
“Un Monde,” Laura Wandel
“Women Do Cry,” Mina Mileva and Vesela Kazakova
“La Civil,” Teodora Ana Mihai
“Unclenching the Fists,” Kira Kovalenko
“Let Their Be Morning,” Eran Kolirin
“Rehana Maryam Noor,” Abdullah Mohammad Saad

Cannes Premiere
“Evolution,” Kornel Mundruczo
“Cow,” Andrea Arnold
“Deception” OR “Tromperie,” Arnaud Desplechin
“Hold Me Tight,” Mathieu Almaric
“In Front of Your Face,” Hong Sang-soo
“Love Songs for Tough Guys,” Samuel Benchetrit
“Mothering Sunday,” Eva Husson
“Val,” Ting Poo and Leo Scott

Out of Competition
“Aline, the Voice of Love,” Valerie Lemercier
“Babi Yar. Context,” Sergei Loznitsa
“Bac Nord,” Cédric Jimenez
“Emergency Declaration,” Han Jae-Rim
“In His Lifetime” OR “De son vivant,” Emmanuelle Bercot
“Stillwater,” Tom McCarthy
“The Velvet Underground,” Todd Haynes

Special Screenings
“Black Notebooks,” Shlomi Elkabetz
“H6,” Yé Yé
“Jane by Charlotte,” Charlotte Gainsbourg
“JFK: Through the Looking Glass,” Oliver Stone
“Mariner of the Mountains,” Karim Aïnouz
“Baby Yar. Context.” Sergei Loznitsa
“The Year of the Everlasting Storm,” Jafar Panahi, Anthony Chen, Malik Vitthal, Laura Poitras, Dominga Sotomayar, David Lowery, and Apichatpong Weerasethakul

Midnight Screenings
“Bloody Oranges,” Jean-Christophe Meurisse
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#2

Post by kongs_speech »

I am so fucking jealous of anyone who gets to attend. What an exquisite lineup.
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#3

Post by monk-time »

What a meaty program. I've counted at least a dozen films/names that I don't want to miss and I'll most likely end up watching even more after reviews come in. Sadly it'll take at least a few months for them to appear in a digital form.
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#4

Post by GruesomeTwosome »

Very intriguing lineup indeed!
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#5

Post by Ivan0716 »

brokenface wrote: June 3rd, 2021, 1:34 pm “The Story of My Wife,” Ildikó Enyedi
“After Yang,” Kogonada
Wow, these have been my two most anticipated films for a while now, didn't even know they had finished production.
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#6

Post by monk-time »

Oh yeah, I need to memorize the name of Ildikó Enyedi, her On Body and Soul was one of my top faves out of the recent films. I think I almost watched it back-to-back with A Ghost Story, another masterpiece about loneliness and connection. What a terrific cine-summer that was.
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#7

Post by Teproc »

I'm always puzzled by how people judge Cannes (or any other festival's) line-ups to be appealing or not. They always kind of look the same to me.
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#8

Post by Torgo »

Teproc wrote: June 3rd, 2021, 10:04 pm I'm always puzzled by how people judge Cannes (or any other festival's) line-ups to be appealing or not. They always kind of look the same to me.
My stance goes in a very similar direction, thanks for paving the way. ;)

Of course I am always interested in seeing new works by personal favorite directors such as Wes Anderson, Farhadi, Audiard or our fellow joachimt. And for an arthouse audience, there are more incredibly exciting names from Carax to Verhoeven, Weerasethakul, Panahi or Hong (to name only a few!).

But honestly the best films in this line-up might very well be ones I had no idea about - so I wouldn't even know the director, or someone who I judge don't as high has an outlier-impressive hit.

Ildikó Enyedi, for example, is a director name I couldn't spell off the top of my head - and I LOVED On Body and Soul! One of my most pleasant surprises that year.
But how would I be excited for this in a line-up before 2017, when I never heard of Enyedi?
Or, on a comparably note: Céline Sciamma was already followed by enough cinephiles during the last decade, but people were blown away by Portrait. I guess many of the fans didn't expect her to deliver such a masterpiece (when it comes to accolades) and wouldn't be as psyched when seeing her name in a line-up before 2019. Now everyone would be like: "OH, a new film by the director of Portrait - can't wait for that!"

Maybe EVERYTHING on that list is subpar. It's 2020/2021, after all.

So, yeah. I'm just as excited as any year for any line-up and will await the critics polls ..
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#9

Post by outdoorcats »

How did I miss this?

Lots of interesting stuff. Memoria is a real film that presumably we'll actually get to see?

I agree that Enyedi and Kogonada new films are exciting, but I'm maybe even more excited for new films by Julia Ducorneau (Raw), Desplechin, Lapid and Todd Haynes...plus that anthology (?) film with a who's who of great directors, the only one of which I'm not familiar with being Anthony Chen.

But generally, every year, the films I'm most excited by more than any of those are the ones I know nothing about. I'll follow the reviews and press and see what looks the most interesting/exciting.

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#10

Post by outdoorcats »

Director's Fortnight revealed:

OPENING FILM
Ouistreham (Between Two Worlds), dir: Emmanuel Carrère

CLOSING FILM
Our Men, dir: Rachel Lang

SPECIAL SCREENING
The Souvenir, dir: Joanna Hogg

FEATURES
A Chiara, dir: Jonas Carpignano
Ali & Ava, dir: Clio Barnard
*Clara Sola, dir: Nathalie Álvarez Mesen
*De Bas Etages (A Brighter Tomorrow), dir: Yassine Qnia
Diarios De Otsoga (The Tsugua Diaries), dirs: Miguel Gomes & Maureen Fazendeiro
El Empleado Y El Patron (The Employer and the Employee), dir: Manuel Nieto Zas
Entre Les Vagues (The Braves), dir: Anaïs Volpé
Europa, dir: Haider Rashid
Futura, dirs: Pietro Marcello, Alice Rohrwacher & Francesco Munzi
*Jadde Khaki (Hit the Road), dir: Panah Panahi
Intregalde, dir: Radu Muntean
*Luaneshat E Kodres (The Hill Where Lionesses Roar), dir: Luàna Bajrami
*Les Magnétiques (Magnetic Beats), dir: Vincent Maël Cardona
Medusa, dir: Anita Rocha da Silveira
*Murina, dir: Antoneta Alamat Kusijanović
Neptune Frost, dirs: Saul Williams & Anisia Uzeyman
*A Night Of Knowing Nothing, dir Payal Kapadia
Re Granchio (The Tale Of King Crab), dirs: Alessio Rigo de Righi & Matteo Zoppis
Retour A Reims (Fragments), dir: Jean-Gabriel Périot
Yong An Zhen Gu Shi Ji (Ripples Of Life), dir: Shujun Wei
*The Sea Ahead, dir: Ely Daghe
The Souvenir Part II, dir: Joanna Hogg

*Denotes first film, eligible for the Camera d’Or

SHORT FILMS
Anxious Body, dir: Yoriko Mizushiri
El Espacio Sideral (The Sidereal Space), dir: Sebastián Schjaer
Simone Est Partie (Simone Is Gone), dir: Mathilde Chavanne
Sycorax, dirs: Lois Patiño, Matías Piñeiro
The Parents’ Room (La Chambre Des Parents), dir: Diego Marcon
The Vandal, dir: Eddie Alcazar
The Windshield Wiper, dir: Alberto Mielgo
Train Again, dir: Peter Tscherkassky

New Tcherkassky! I am of course excited for new films by Gomes and Muntean (and the Marcello/Rohrwacher--collaboration? anthology?), and at least interested in new Carpignano and Barnard (I liked Mediterraneo well enough and The Selfish Giant a great deal) but again it's the directors I haven't heard of that I'm most curious about. I have not yet seen The Souvenir, but Exhibition was an interesting film. The fact that it's getting a Part II makes it also more interesting to me for some reason. :shrug:

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#11

Post by brokenface »

I thought The Souvenir was one of the most excessively overrated films by critics in recent years, but no doubt I'll feel compelled to watch Part II when it appears on all the year end lists again :pinch:
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#12

Post by Ivan0716 »

Has there been any white female-directed English-language film that wasn't excessively overrated by critics in recent years? :whistling:
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#13

Post by kongs_speech »

Ivan0716 wrote: June 9th, 2021, 10:01 pm Has there been any white female-directed English-language film that wasn't excessively overrated by critics in recent years? :whistling:
Oh, Jesus. :facepalm:
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#14

Post by outdoorcats »

Ivan0716 wrote: June 9th, 2021, 10:01 pm Has there been any white female-directed English-language film that wasn't excessively overrated by critics in recent years? :whistling:
Pretty much any genre film? Not only not overrated but generally underrated, with the sole exception of The Babadook and Promising Young Woman.

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#15

Post by cinewest »

I thought the Souvenir was very good, and get the impression that most males simply don’t connect to most films by women directors, though I admit there are a few “adopted” ones, like Kelly Reichardt that I think have received excessive praise.
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#16

Post by Teproc »

Ivan0716 wrote: June 9th, 2021, 10:01 pm Has there been any white female-directed English-language film that wasn't excessively overrated by critics in recent years? :whistling:
Probably hundreds you've never heard about.
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#17

Post by viktor-vaudevillain »

Ivan0716 wrote: June 9th, 2021, 10:01 pm Has there been any white female-directed English-language film that wasn't excessively overrated by critics in recent years? :whistling:
Yup! That French one with the portrait by Céline Sciamma. :whistling:
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#18

Post by viktor-vaudevillain »

cinewest wrote: June 10th, 2021, 4:53 am I thought the Souvenir was very good, and get the impression that most males simply don’t connect to most films by women directors, though I admit there are a few “adopted” ones, like Kelly Reichardt that I think have received excessive praise.
I think you are wrong in that impression. It might be slightly correct if you talk (only heterosexual) men by and large and still, it's not. If you take a community like this or ANY other cinephile community you will see that this statement is completely wrong. If you are just the least interested in marginalized/underground/experimental/art cinema then the gender of the director becomes less important.
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#19

Post by Teproc »

viktor-vaudevillain wrote: June 10th, 2021, 6:43 am
Ivan0716 wrote: June 9th, 2021, 10:01 pm Has there been any white female-directed English-language film that wasn't excessively overrated by critics in recent years? :whistling:
Yup! That French one with the portrait by Céline Sciamma. :whistling:
Wow, Adèle Haenel's English is so good it sounds like French! Or so bad, I'm not sure. :rolleyes:
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#20

Post by matthewscott8 »

cinewest wrote: June 10th, 2021, 4:53 am I thought the Souvenir was very good, and get the impression that most males simply don’t connect to most films by women directors, though I admit there are a few “adopted” ones, like Kelly Reichardt that I think have received excessive praise.
Honestly I just felt the story was banal. There was a palpable give me my money back feeling in the theatre I saw it in after the lights came back on. And I'm a big Joanna Hogg fan, Unrelated blew my socks off. It just seemed like a story of weakness, privilege, absurd self deception. If this story was worth telling, what story is not worth telling.
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#21

Post by matthewscott8 »

Ivan0716 wrote: June 9th, 2021, 10:01 pm Has there been any white female-directed English-language film that wasn't excessively overrated by critics in recent years? :whistling:
I am not really watching contemporary cinema much for some time now (since 2018), but I think the world is ignoring Jodie Mack, her film The Grand Bizarre is fantastic.
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#22

Post by St. Gloede »

cinewest wrote: June 10th, 2021, 4:53 am I thought the Souvenir was very good, and get the impression that most males simply don’t connect to most films by women directors, though I admit there are a few “adopted” ones, like Kelly Reichardt that I think have received excessive praise.
Are there many examples of films directed by women where there is a very notable gender discrepancy in the critical consensus?

Looking at regular film viewers (not sure if we have critic data) on IMDb the gender divide on The Souvenir is actually turned the opposite way:

Men: 6.5/10 (5,442 votes)
Women: 6.1/10 (1,275 votes)

(Personally, I was not impressed by The Souvenir. I thought the distanced acting style was only adequate and was not leaned into enough, leading to a slightly muddled but adequate expression)

Looking at the 6 films by women on the Sight & Sound top 10 of 2020 (which may be biased already, though from reading it there is a fair number of women involved in the voting) and once again going from IMDb votes:

First Cow (2019) M = 7.1 F = 7.0
Saint Maud (2019) M = 6.7 F = 6.6
Dick Johnson Is Dead (2020) M = 7.5 F = 7.5
Never Rarely Sometimes Always (2020) M = 7.4 F = 7.3
Nomadland (2020) M = 7.4 F = 7.5
Rocks (2019) M = 7.5 F = 7.7

From this, it would seem like the reaction is near identical, with the greatest discrepancy being 0.2. In 3 cases men liked the film slightly more, in 1 case they were completely tied and in 2 cases women liked the film slightly more.

-

I also decided to give their toplist from 2019 a look. There were only 3 films by women in the top 10 (the number 1 being The Souvenir, so I decided to look at the other films in the top 25):

Portrait de la jeune fille en feu (2019) M = 8.0 F = 8.2
Atlantique (2019) M = 6.7 F = 6.7
For Sama (2019) M = 8.5 F = 8.6
Lazzaro felice (2018) M = 7.5 F = 7.5
Hustlers (2019) M = 6.2 F = 6.5
The Farewell (2019) M = 7.5 F = 7.6

Once again the numbers are almost identical, but here every rating is either tied or diverges 0.1-0.3 points towards the women preferring the film.

-

(As for the comment that every English language film directed by a white woman is overrated, be aware that it can be read in some quite bad ways)
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#23

Post by Teproc »

I'm not sure IMDB is a great comparison tool because of the huge discrepancy between male and female users on that site. To take the Souvenir, there are 5 male users who rated it for every female user who did, which means the tools that IMDB uses to smooth out averages might be a much bigger factor in explaining differences than the gender of the users.

Besides, I'm pretty sure Ivan was referring to English-speaking critics, rather than the general film-going population.
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#24

Post by St. Gloede »

Teproc wrote: June 10th, 2021, 8:45 am I'm not sure IMDB is a great comparison tool because of the huge discrepancy between male and female users on that site. To take the Souvenir, there are 5 male users who rated it for every female user who did, which means the tools that IMDB uses to smooth out averages might be a much bigger factor in explaining differences than the gender of the users.

Besides, I'm pretty sure Ivan was referring to English-speaking critics, rather than the general film-going population.
I'm not replying to Ivan, I'm replying to cinewest theory that "most males simply don’t connect to most films by women directors". I don't think the discrepancy in number of male and female voters is particularly relevant in this respect. Both sample sizes are notable.

(If you or anyone else knows of any sources for gender-based data, be it from critics or audiences on specific films by women, please add links - as cinewest's theory is certainly an interesting one to investigate)
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#25

Post by Teproc »

Ah, got it. I do think the discrepancy is relevant beyond sample sizes. I don't know exactly how the imdb averages work, but I'm assuming it's not a raw average, there is additonal weighting going on, whether it be the "super voters" that disproportionally affect the top 250 rating or some other way to ensure that films seen by a very large number of people don't get handicapped, and that's where I think you could have statistical bias.
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#26

Post by St. Gloede »

Teproc wrote: June 10th, 2021, 10:41 am Ah, got it. I do think the discrepancy is relevant beyond sample sizes. I don't know exactly how the imdb averages work, but I'm assuming it's not a raw average, there is additonal weighting going on, whether it be the "super voters" that disproportionally affect the top 250 rating or some other way to ensure that films seen by a very large number of people don't get handicapped, and that's where I think you could have statistical bias.
Yes, that is correct, but the weighting does not have an extreme effect. If you look at The Souvenir the weighted average vs. raw average is identical or +0.1.

The full data:

Image

Image

Weighted average: M = 6.5, F = 6.1
Raw average: M = 6.4, F = 6.1
Median: M = 7, F = 6

Looking at the actual ratings men and women were surprisingly equally likely to give it 10/10 (4.2%), however, men were far more likely to rate it 9 or 8. Men were also less to far less likely to rate it 6 or lower.

Of course, these differences could be minimised with a larger sample group of women, and as we can see, the general curve is very similar.
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#27

Post by Teproc »

Oh, I didn't realize it was so easy to access the raw data actually, very interesting.
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#28

Post by cinewest »

viktor-vaudevillain wrote: June 10th, 2021, 6:51 am
cinewest wrote: June 10th, 2021, 4:53 am I thought the Souvenir was very good, and get the impression that most males simply don’t connect to most films by women directors, though I admit there are a few “adopted” ones, like Kelly Reichardt that I think have received excessive praise.
I think you are wrong in that impression. It might be slightly correct if you talk (only heterosexual) men by and large and still, it's not. If you take a community like this or ANY other cinephile community you will see that this statement is completely wrong. If you are just the least interested in marginalized/underground/experimental/art cinema then the gender of the director becomes less important.
I didn’t make that comment out of the blue. I have seen plenty on this board that supports what I said not only in terms of how films by many women directors here are rated by largely a male crowd, but also interns of the commentaries.
I don’t see it as an intended bias, but rather a natural one that probably has more to do with a difference in sensibility, nature of expressions, focus of attention, and thematic interest than anything else
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#29

Post by cinewest »

St. Gloede wrote: June 10th, 2021, 8:38 am
cinewest wrote: June 10th, 2021, 4:53 am I thought the Souvenir was very good, and get the impression that most males simply don’t connect to most films by women directors, though I admit there are a few “adopted” ones, like Kelly Reichardt that I think have received excessive praise.
Are there many examples of films directed by women where there is a very notable gender discrepancy in the critical consensus?

Looking at regular film viewers (not sure if we have critic data) on IMDb the gender divide on The Souvenir is actually turned the opposite way:

Men: 6.5/10 (5,442 votes)
Women: 6.1/10 (1,275 votes)

(Personally, I was not impressed by The Souvenir. I thought the distanced acting style was only adequate and was not leaned into enough, leading to a slightly muddled but adequate expression)

Looking at the 6 films by women on the Sight & Sound top 10 of 2020 (which may be biased already, though from reading it there is a fair number of women involved in the voting) and once again going from IMDb votes:

First Cow (2019) M = 7.1 F = 7.0
Saint Maud (2019) M = 6.7 F = 6.6
Dick Johnson Is Dead (2020) M = 7.5 F = 7.5
Never Rarely Sometimes Always (2020) M = 7.4 F = 7.3
Nomadland (2020) M = 7.4 F = 7.5
Rocks (2019) M = 7.5 F = 7.7

From this, it would seem like the reaction is near identical, with the greatest discrepancy being 0.2. In 3 cases men liked the film slightly more, in 1 case they were completely tied and in 2 cases women liked the film slightly more.

-

I also decided to give their toplist from 2019 a look. There were only 3 films by women in the top 10 (the number 1 being The Souvenir, so I decided to look at the other films in the top 25):

Portrait de la jeune fille en feu (2019) M = 8.0 F = 8.2
Atlantique (2019) M = 6.7 F = 6.7
For Sama (2019) M = 8.5 F = 8.6
Lazzaro felice (2018) M = 7.5 F = 7.5
Hustlers (2019) M = 6.2 F = 6.5
The Farewell (2019) M = 7.5 F = 7.6

Once again the numbers are almost identical, but here every rating is either tied or diverges 0.1-0.3 points towards the women preferring the film.

-

(As for the comment that every English language film directed by a white woman is overrated, be aware that it can be read in some quite bad ways)
Just to be clear, I didn’t make that last comment.

You and i have also had this discussion before (in fact it was stimulated by the same film, which I defended at the time) and the data you present makes me wonder why I have this impression. Perhaps it is one derived from only a certain percentage of male assessments that seem to stand out to me.

As for the assessments by women, I suspect that a more detailed breakdown might reveal various Sub-groupings whose attitudes towards the film differs according to different attitudes about how a woman should be, or express herself, etc.

Finally, I can’t back away from my sense that a bias exists because it is all too evident to me in the polls that are dome here,* just as it is evident to me that English language films are favored by the majority.

*yes, there are a few women filmmakers that seem to have captured the fancy of voters, but there are a bunch of other very good ones that are largely ignored for some reason.
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#30

Post by hurluberlu »

Back to Cannes, shall we ?

A few movies have been added to the selection, including the new Gaspar Noé "Vortex" with Dario Argento.
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#31

Post by St. Gloede »

cinewest wrote: June 10th, 2021, 3:56 pm Just to be clear, I didn’t make that last comment.
Yes, sorry, don't worry - I didn't think you made the remark - should have made a broader divide there.

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Spoiler
As for breaking down the views of women into those categories, I'm not sure. Even if "true" I think that would undermine the point you were making as at that point you would only be speaking of one or more smaller sub-group(s) of women rather than women as a whole. It is also worth noting that the trend of men and women having near-identical overall opinions on films by women seems fairly consistent from the films examined above.

Moving from most males simply don’t connect to most films by women directors, to most males on this forum don’t connect to most films by women directors does seem like a tall claim as well - especially if using polls as the reasoning.

Polls are consensus-building and popularity contests - that means that the more people have seen a film, the more likely it is to be on top. At present most films in the canon are by men and most films in the canon are English language. That means that even if everyone on the forum preferred films that are not in the English language, the lists would likely still be dominated by English language films - and they would certainly be dominated by men. The exception would be if we all leaned towards the same type of cinema - which we don't. The forum is broken up into several sub-niches.

I do think that it is probably true that if we looked at most members' toplists we would see primarily English-language films, but that is also in large part due to a large portion of the forum having consumed far more English language film. If we looked at the percentage of English-language films seen that turned up on the final list and the percentage of Non-English Language films seen that ended up on the final list - I think Non-English Language films would be winning by a very wide margin.

This is obviously a digression from the topic at hand - and I don't know how to measure whether males on this forum are less likely to connect to films by female filmmakers. That strikes me as fundamentally untrue and unbelievable to be honest with you (unless this statement is broad, i.e. most males simply don’t connect to most films by male directors being true as well).

What could be true is that men could be less likely to connect to films by women directors on average - and while contradicted by IMDb data, it could be more possible, for instance, with people outside of the film sphere. It could possibly also be true, overall, for the men on this forum - but I don't think we can use polls to look at this. We would need something to measure this against - for instance the taste of the women on the forum - or perhaps the percentage of films by women they have seen present on their toplists. Of course, doing so would take a lot of work - unless we could use The Magician's rating script and add in gender data. If someone feels up to that task, go for it.

In terms of women directors being less noticed, and finding this odd - I think you have previously posted long lists of current directors being ignored/getting less attention - regardless of gender - and I think that is just how things are in general. Many directors we love or that interest us will not pull in large numbers of viewers even from this forum. And of course, many users are not actively working on new films the way you are - and us such miss many nuances and hidden gems
matthewscott8
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#32

Post by matthewscott8 »

It's really hard to find films with a big gender imbalance in appreciation, it's been a pet nerdism of mine for years.

Biggest I can remember seeing is Mamma Mia... 6.8 for women 6.1 for men
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Ivan0716
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#33

Post by Ivan0716 »

St. Gloede wrote: June 10th, 2021, 8:38 am (As for the comment that every English language film directed by a white woman is overrated, be aware that it can be read in some quite bad ways)
It was about the reactions of certain film circles towards a certain type of films(especially in recent years, for obvious reasons), not the films themselves or the directors of the films, but yes I was aware how it was going to come across.
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cinewest
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#34

Post by cinewest »

hurluberlu wrote: June 10th, 2021, 4:58 pm Back to Cannes, shall we ?

A few movies have been added to the selection, including the new Gaspar Noé "Vortex" with Dario Argento.
It looks like a very intriguing line-up to me
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