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| From Chapter 32: Reveal: Baby ryazanskie / Бабы рязанские / Women of Ryazan / Olga Preobrazhenskaya, Soviet Union 1927. Screenshot from the Women Make Film website. |
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| From Chapter 32: Memory: Mille soleils / A Thousand Suns / Mati Diop, France 2013. Screenshot from the Women Make Film website. |
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| From Chapter 33: Time: Falling Leaves / Alice Guy-Blaché, USA 1912. Screenshot from the Women Make Film website. |
Women Make Film. A New Road Movie Through Cinema
Women Make Film. Uusi matka elokuvaan
GB © 2019 How To Make A Movie Ltd. PC: Hopscotch Films. P: John Archer. EX: Clara Glynn, Tilda Swinton. Assistant P: Sonali Choudhury. Associate P: Carl Beauchamp, Catherine Glynn Benkaim, Barbara Timmer.
D+SC: Mark Cousins. Sound mixing: Diane Jardine. S: Joe Harfield. ED+script consultant: Timo Langer. Online: Chas Chalmers. Edit assistant: Scott Bilsbrough. P coordinator: Mhairi Valentine. P team: David Brown, Rowan Ings, Raja Kryda. World Sales: Dogwoof. Head of sales: Ana Vicente. Legal: David Burgess.
https://www.womenmakefilm.com/
14 hours – HD – 16:9
Festival premiere: 1 Sep 2018 Venice Film Festival
Finnish telepremieres of the 14 episodes: 3.3.2020, 10.3.2020, 17.3.2020, 24.3.2020, 1.4.2020, 8.4.2020, 15.4.2020, 22.4.2020, 29.4.2020, 6.5.2020, 13.5.2020, 20.5.2020, 27.5.2020, 3.6.2020
Corona lockdown viewings.
Yle Areena.
Viewed on a 4K tv set at home in Helsinki, 21 May 2020.
Episode 12/14: Reveal, Memory, Time
Jakso 12/14: Paljastuksia ja ajan kulumista
Narrator: Kerry Fox.
Finnish / Swedish subtitles: Jaana Wiik, Sari Östman
Chapter 32. Reveal / Paljastukset / Avslöjanden
Westworld Season 2 Episode 4: The Riddle of the Spinx / [same title in Finland, HBO Nordic] / Lisa Joy, tv, US 2018
Pas gjurmëve / After the Tracks / On the Track / Xhanfise Keko, AL 1978 [unreleased in Finland]
Morvern Callar / Morvern Callar / Lynne Ramsay, GB/CA 2002
Povest plamennykh let / Повесть пламенных лет / The Story of the Flaming Years / Liekehtivän taivaan alla / Yuliya Solntseva, SU 1961
Koibumi / 恋文 / Love Letter / Rakkauskirje / Kinuyo Tanaka, JP 1953
Baby ryazanskie / Бабы рязанские / Women of Ryazan / Rjazanin naiset / Olga Preobrazhenskaya, SU 1927
Lourdes / Jessica Hausner, AT/FR/DE 2009 [unreleased in Finland]
Stories We Tell / Sarah Polley, CA 2012 [unreleased in Finland]
Le meraviglie / The Wonders / Alice Rohrwacher, IT/CH/DE 2014 [unreleased in Finland]
Chapter 33. Memory / Muisti / Minnen
Elena / Petra Costa, BR/US 2012 [unreleased in Finland]
I lykaina / Η Λύκαινα / The She-Wolf / Maria Plyta, GR 1951 [unreleased in Finland]
Pet Sematary / Uinu, uinu lemmikkini / Mary Lambert, US 1989
Poema o more / Поэма о море / Poem of the Sea / Runoelma merestä, Yuliya Solntseva, SU 1958
Pora umierać / A Time to Die / Dorota Kędzierzawska, PL 2007 [unreleased in Finland]
Faunovo velmi pozdní odpoledne / The Very Late Afternoon of a Faun / Faunin iltapäivä / Věra Chytilová, CZ 1983
Älskande par / Loving Couples / Rakastavia pareja / Mai Zetterling, SE 1964
Zacharovannaya Desna / Зачарованная Десна / The Enchanted Desna / Lumottu Desna / Yuliya Sointseva, SU 1964
Olympia, 1. Teil – Fest der Völker / Olympia Part One: Festival of the Nations / Olympia I: Kansojen juhla / Leni Riefenstahl, DE 1938
Mille soleils / A Thousand Suns / Mati Diop, FR 2013 [in Wolof] [unreleased in Finland]
Return / Liza Johnson, US 2011 [unreleased in Finland]
Chapter 34. Time / Aika / Tid
Falling Leaves / Alice Guy-Blaché, US 1912
Les Rendez-vous d'Anna / The Meetings of Anna / Chantal Akerman, FR/BE/DE 1978 [unreleased in Finland]
Az én XX. századom / My 20th Century / Minun 20. vuosisatani / Ildikó Enyedi, HU/DE/DU 1989
Thumbelina / Peukaloinen / Lotte Reiniger, GB 1954
Monster / Monster – Aileen Wuornos / Patty Jenkins, US 2003
Something Better To Come / Parempi huominen / Hanna Polak, dok, DK/PL/JP/NL/US 2014
The Gold Diggers / Sally Potter, GB 1983 [unreleased in Finland]
Ravenous / Erämaa syö miestä / Antonia Bird, CZ/GB/US/MX 1999
Go! Go! Go! / Marie Menken, cm, exp, US 1964
I lykaina / Η Λύκαινα / The She-Wolf / Maria Plyta, GR 1951 [unreleased in Finland]
The Future / Miranda July, DE/US/FR 2011 [unreleased in Finland]
Orlando / Orlando / Sally Potter, GB/RU/IT/FR/NL 1992
Roozi ke zan shodam / روزی که زن شدم / The Day I Became A Woman / Marziyeh Meshkini, IR 2000 [unreleased in Finland]
AA: All episodes of the Women Make Film series start with a montage of men in the film industry. The dominant figure is Cecil B. DeMille (1881–1959), which is fair enough. His career spanned the classical Hollywood of the studio era from 1914 till 1956. DeMille was a strong man who preferred strong women in his production teams, including Anne Bauchens (his editor from 1915 until 1956) and Jeanie MacPherson (his screenwriter from 1915 until her death in 1946). Since the beginning DeMille also favoured strong leading ladies such as Geraldine Farrar and Gloria Swanson. The terrain of "women make film" is wider than directors.
The chapters in the previous episode were titled Tension, Stasis and Leave Out. Now we have chapters called Reveal, Memory and Time. "Leave Out" and "Reveal" are interconnected. We start with a scene from Olga Preobrazhenskaya's The Women of Ryazan, where the arranged marriage plan is revealed to the bride and the groom. From Kinuyo Tanaka's Love Letter we see the scene where a war veteran who writes professionally love letters in the names of women overhears beyond the curtain the voice of her own long lost true love, revealed also to be a customer of the letter service. Another film I need to see.
Memory of course is an essential dimension in the cinema. This chapter offers unusual and unexpected samples. Mary Lambert directed Pet Sematary based on the novel by Stephen King. We see a sequence where the backstory of the uncanny cemetery is remembered. In Mati Diop's Mille soleils memories hark back to the times that were discussed in her uncle Djibril Diop Mambéty's classic Touki-Bouki. In Liza Johnson's Return a female soldier comes home from Middle East, but "you can't come home again", to quote the title of the novel by Thomas Wolfe.
Time. You cannot get more philosophical than this. Gilles Deleuze named the two volumes of his magnum opus Cinéma I: L'image-mouvement and Cinéma II: L'image-temps. For Deleuze, the golden age of the "time image" starts around WWII with films such as Citizen Kane. To simplify: the history of the cinema is action until the 1940s, and contemplation after that. Cousins's approach is completely different and starts earlier with a beautiful fairy-tale shot from Alice Guy's Falling Leaves where a little girl tries to insert leaves back to trees to turn back time. Literally manipulating time was a haunting magic theme in early cinema, and Guy's contribution is particularly eloquent. The opening shot of Chantal Akerman's Les Rendez-vous d'Anna is actually called by Cousins "a time image". It's a static long shot and long take without editing: an image of the passage of time. We witness time lapse by Marie Menken. We experience Virginia Woolf's time travel over the centuries in Sally Potter's Orlando, starring Tilda Swinton. We observe the fatal disappearance of the shadow at noon in Marziyeh Meshkini's The Day I Became a Woman. This chapter belongs to the most rewarding thematically in Mark Cousins's magnum opus.
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