“Call Me By Your Name” (2017) is an incredible testament to the power and necessity of details and tone. It proves how artistry and craft are key to having audiences empathize with characters they don’t necessarily relate to, or don’t think they can relate to. It shows the importance of representation in film and how having a few movies about gay men (or any minority for that matter) is not enough. And ultimately, it is proof that great story is not forced, but earned and felt.
I first saw Gurinder Chadha’s “Bend It Like Beckham” (2002) in my Film as Literature class when I was sixteen. I remember the film sticking out to me because I wondered, why haven’t I seen this film yet? If I had seen this film when I was eight, would I still have quit my Flower Power U-10 soccer team?
“Moonlight” (2016) is a poetic and universal tale. It is a coming-of-age story for everyone who has every questioned “Who am I?” The central character in Tarell Alvin McCraney’s story is a Black American young man in Miami, yet he is also all of us, in all locations of this world growing up and coming to terms with our unique identities and surroundings.
In Christine and her insecure and unkind imperfection, I see myself in high school. Though I was never as bold or outwardly rebellious, I shared her desire to run away from my hometown. Hers is Sacramento and mine was suburban Wisconsin, but the sentiment was the same: Anywhere is okay, as long as it’s not here.
Would I want my daughter to watch a film where women come of age and discover things other than love? Absolutely.
I’m very excited about Issue Six, our “Coming-Of-Age” issue. Our cover film is the Netflix hit “To All the Boys I’ve Loved Before” (2018), directed by Susan Johnson and based … Continue reading Cinema Femme’s Coming-Of-Age Issue—Editor’s Letter