Cinema Femme at Sundance Day 3: Sharp Stick, Mija, Brainwashed: Sex-Camera-Power, Call Jane

by cinemafemme

January 24, 2022

4 min read

Share this post

A still from Sharp Stick by Lena Dunham, an official selection of the Premieres section at the 2022 Sundance Film Festival. Courtesy of Sundance Institute.

Sharp Stick

In Lena Dunham’s “Girls,” she wasn’t afraid to go there by pushing taboos of sexuality for women onscreen. It was liberating to watch. In “Sharp Stick,” it’s no different. We follow Sarah Jo (Kristine Froseth) who is coming of age in her sexuality at the age of 26. She has been self conscious about her body because of a hysterectomy she had when she was young that left a scar on the lower side of her stomach. Spurred on by a conversation with her sister (Taylour Paige of “Zola”), and her mother, (Jennifer Jason Leigh) about love, she finds herself attracted to the father (Jon Bernthal) of the child she aids as a caregiver. Once she begins an affair with him, it lights a fire under her to pursue her sexual conquests. During the process she is able to fully embrace her sexuality, and Froseth’s performance makes it a joy to watch. – Rebecca Martin, Managing Editor

A still from Mija by Isabel Castro, an official selection of the NEXT section at the 2022 Sundance Film Festival. Courtesy of Sundance Institute | photo by Isabel Castro.

MIJA

What does freedom mean to you? In Isabel Castro’s documentary, “Mija,” Doris Muñoz poetically says that freedom means having the ability to follow your dreams. Doris’ dream is to help Latinx people rise in the music industry, and also assist her parents in getting their green cards so they can also achieve their desires. We follow Doris at the height of her success, and then when her success is taken away, she must reevaluate her direction. Doris finds a future in Jacks Haupt, a young singer, by supporting her future. The two come together and help each other realize that their dreams are possible. This is a deeply moving ode to the vitality of family.- Rebecca Martin, Managing Editor

Brainwashed: Sex-Camera-Power

“Perception is not whimsical, but fatal.” -Ralph Waldo Emerson

Seasoned filmmaker Nina Menkes takes us through a topic that is close to her heart, and shows us the subliminal messaging of how women are objectified onscreen. She shows how this has been going on since the beginning of Hollywood, which has led to employment discrimination and sexual assaults in the industry from people like Harvey Weinstein. Menkes walks us through clips of highly regarded films to demonstrate how the lighting is on a female character and the pan of her body says a lot of what our culture thinks about women. What triggered Menkes’ pursuit to study and teach on this topic was how this onscreen objectifying of women made her look at herself in a negative light. Although I don’t know if I 100% agree with Menkes’ theories, I do feel there is a need for stronger female characters, and better representation onscreen and behind the camera. This includes the principle that sex onscreen should also include the woman’s POV, and not just the male gaze. – Rebecca Martin, Managing Editor

Elizabeth Banks and Sigourney Weaver appear in Call Jane by Phyllis Nagy, an official selection of the Premieres section at the 2022 Sundance Film Festival. Courtesy of Sundance Institute | photo by Wilson Webb.

Call Jane

It’s a crime that I did not know about “The Janes”, especially since I’m from Chicago. “Carol” screenwriter Phyllis Nagy’s directorial effort “Call Jane” shows the power of women helping women. The film takes place during the unrest in Chicago during the 1960s, previous to Roe vs. Wade. The Janes are an underground organization and movement that helped women get abortions since it was illegal at the time. We see their story through the eyes of Joy (Elizabeth Banks), a suburban housewife who learns she probably will die if she does not get an abortion. The doctors will not help, and this leads her to The Janes. From that point on, her life will never be the same. And it’s worth noting that the ensemble showcases great performances from Sigourney Weaver, Kate Mara and Wunmi Mosaku. – Rebecca Martin, Managing Editor

Share this post

Recommended For You

Explore our latest articles and updates.

Chicago, Interviews, LGBTQ+, Queer Stories

8 min read

Sapphopalooza 2026: “Go Fish” Still Feels Revolutionary – Guinevere Turner on Queer Community, Representation, and a Lesbian Classic

by Emily Jacobson

May 21, 2026

When I first watched “Go Fish,” Rose Troche’s 1994 film, it was in the middle of lockdown during 2020. I was watching at least three movies a day, using my

2026 Films, Interviews

3 min read

Emotional Stunts: Nora Kirkpatrick on “Couples Weekend” and the Art of Honesty

by Rebecca Martin

May 20, 2026

When I sat down with director Nora Kirkpatrick, she described her latest feature, “Couples Weekend,” as “The Breakfast Club for adults.” It’s a comparison she credits to actor Josh Gad,

2026 Films, Horror, Interviews, LGBTQ+

9 min read

Externalizing the Internal: Natalie Erika James on her latest horror gem, “Saccharine”

by Rebecca Martin

May 19, 2026

We are living in a culture right now where we are constantly feeding ourselves, and not only with food. The content constantly competing for our attention on all sizes of

Stay Updated on Our Film Festival

Subscribe to our newsletter for the latest festival updates, film submissions, and special announcements.

By clicking Join Us, you agree to our Terms and Conditions.

Create a free account, or log in.

Gain access to read this article, plus limited free content.

Yes! I would like to receive new content and updates.

Discover more from Cinema Femme

Subscribe now to keep reading and get access to the full archive.

Continue reading