WOMEN MAKE FILM a NEW ROAD MOVIE THROUGH CINEMA CONTACT [email protected] [email protected]
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WOMEN MAKE FILM A NEW ROAD MOVIE THROUGH CINEMA CONTACT [email protected] [email protected] Ground Floor Overseas House 19-23 Ironmonger Row London EC1V 3QN + 44 (0)20 7253 6244 dogwoofsales.com ABOUT THE FILM NOTE OF INTENTION CHAPTERS 1 - 40 ABOUT THE FILMMAKERS ABOUT HOPSCOTCH FILMS ABOUT DOGWOOF INDEX ALICE GUY-BLACHÉ WOMEN MAKE FILM DIRECTOR Mark Cousins A NEW ROAD MOVIE THROUGH CINEMA PRODUCER John Archer EXECUTIVE PRODUCERS Over a thousand Tilda Swinton film clips spanning Clara Glynn 13 decades, across 5 continents, over Women Make Film: A New Road Movie Through EDITOR A 16-HOUR 16 hours, Women Cinema is a guided tour through the history, art and Timo Langer JOURNEY WITH Make Film is an craft of the movies - through the lens of women. The epic 16-hour project, four years in the making NARRATORS TILDA SWINTON, epic exploration Tilda Swinton of cinema history and still in production, will be made up of chapters Jane Fonda JANE FONDA through the lens of each to be narrated by different women in film, others TBC AND OTHERS some the world’s Tilda Swinton and Jane Fonda are confirmed so greatest directors – all far with more to be announced. In the spirit of The COUNTRY women. Narrated by Story of Film: An Odyssey, Cousins asks how films are UK Tilda Swinton, Jane made, shot and edited; how stories are shaped and Fonda and more, shot how movies depict and reflect every day life. LANGUAGE English and edited by Mark Cousins - life, love, RUNTIME politics, humour and 960’ death, are all explored and examined in this DELIVERY cinematic road-trip 2019 like no other. WORLD SALES Dogwoof ABOUT THE FILM Many years in the making, this bold follow-up to Mark Cousins’ The Story of Film uses over one thousand clips to show how movies are made. Comprised of 40 chapters, it asks questions like What movies did they make? What techniques did how a great opening shot is done, how to frame they use? What can we learn about cinema from an image, how to introduce a character, how to them? Film history has been sexist by omission. film sex, dance and death, how work and love are portrayed in cinema, and how the genres of Women Make Film looks at film again, through the comedy, melodrama and sci-fi work. eyes of the world’s women directors: it’s a new road movie through cinema. Uniquely, all these questions are answered using only clips from films directed by women. The This film is not about the directors’ lives. It’s not a famous female directors are included, but so are chronological history. It’s not an analysis of how scores of forgotten women from every period in women directors are different from men. And it’s film history and every continent. Women Make not one of those lists of the best films ever made. Film is a revealing eye-opener, a celebration of the art and craft of cinema, and a j’accuse to film No. It has cleaner lines than that. history. This film is about the films, the scenes. It answers Most films have been directed by men. Most of practical questions. What’s an engaging way to the so-called movie classics were directed by start a film? How do you set its tone? How do men. But for thirteen decades, and on all six you make it believable? What’s an inventive way filmmaking continents, thousands of women have of introducing a character? How do you make a been directing films too. Some of the best films. tracking shot magical? MIA HANSEN-LØVE The sort of questions you ask when you’re making films or watching them. What about dream sequences, dance routines, the workplace or politics? How do you film bodies? What’s a great way to show love? Tension, memory or death? We’ll ask 40 such questions. In 40 chapters. 40 montages on the road. 40 stories about great cinema. This is a film school of sorts, in which all the teachers are women. An Academy of Venus. It’s full of examples, hundreds of examples, a montage of scenes from movies across the world. And from many decades. Your favourite films might not be here, your favourite directors might not be here. This film is not trying to be comprehensive. In fact some of the more famous films are avoided. But there are surprises. Revelations. Feel free to be angry because some of these great films have been overlooked. But feel free to be delighted at the medium of film, and at the women on whose shoulders we stand. KIRA MURATOVA NOTE OF INTENTION “Many films about cinema feature only male directors, so this one is a repost. It is a film school, where all the teachers are female. The intention of this film is to, as Diaghilev and Cocteau said, “astonish us.” To campaign for equality in cinema is compellingly right. Part of that campaign must be to celebrate the great women directors, to insert them into the canon where they rightly belong and from which they have been excluded by many film historians, mostly male. Women directors are only a part of that history – there are the great writers, producers, actors, of course, too – but there is much ignorance and blindness about women directing film. Our film will boldly challenge this blindness.” - Mark Cousins, 2018 JANE CAMPION With examples from 1943 to 2013, from China to Iran, Australia to Finland, we look at how to open a film: from mysterious, direct, floating, foreboding to plunging straight in. All are instructive in how to create an immediate world. Learning from example. OPENINGS CHAPTER 1 The East is Red Wang Ping China 1965 First Comes Courage Dorothy Arzner USA 1943 The Silence of the Palaces Moufida Tlatli Tunisia 1994 The Quarry Marion Hänsel Belgium, France, Netherlands, Spain 1998 Strange Days Kathryn Bigelow USA 1995 Harlan County U.S.A. Barbara Kopple USA 1976 Innocence (Evolution?) Lucile Hadžihalilovic France 2004 Things To Come Mia Hansen-Løve France 2016 Je Tu Il Elle (1975) Chantal Akerman France, Belgium 1974 All For Mary Wendy Toye UK 1955 Sweetie Jane Campion Australia 1989 Thumbelina Lotte Reiniger UK 1954 Le Bonheur Agnès Varda France 1965 The Very Late Afternoon of a Faun Vera Chytilova Czechoslovakia 1983 The Black Dog Alison De Vere UK 1987 The 3 Rooms of Melancholia Pirjo Honkasalo Finland, Denmark, Germany, Sweden 2004 The Day I Became A Woman Marziyeh Meshkini Iran 2000 Blackboards Samira Makhmalbaf Iran-Italy-Japan 2000 Attenberg Athina Rachel Tsangari Greece 2010 Be My Star Valeska Grisebach Germany 2001 The Visitor Lola Randl Germany 2008 A Time to Die Dorota Kędzierzawska Poland 2007 Butter on the Latch Josephine Decker USA 2013 The Last Stage Wanda Jakubowska Poland 1947 La Cienaga Lucrecia Martel Argentina, France, Spain, Japan 2001 DOROTHY ARZNER TONE CHAPTER 2 What’s the tone of a film - not its story or theme, but what its world feels like? Back to Hollywood and director Dorothy Arzner with Merrily We Go to Hell and its glamorous amorous mood setting the tone. This chapter looks at the myriad of ways in which directors set the tone of their films: delight, anger, poetic, double tone, moral seriousness, caring, edgy, violence. Merrily We Go to Hell Dorothy Arzner USA 1932 Wanda Barbara Loden USA 1970 Pet Sematary Mary Lambert USA 1989 Tank Girl Rachel Talalay USA 1995 On the 12th Day of Christmas. Wendy Toye UK 1955 By The Sea Angelina Jolie USA 2015 Peel Jane Campion Australia 1982 Beau Travail Claire Denis France 1999 Olivia Jacqueline Audry France 1951 Maedchen in Uniform Leontine Sagan Germany 1931 Sambizanga Sarah Maldoror Angola-France 1973 Two in One Kira Muratova Ukraine-Russia 2007 American Psycho Mary Harron USA 2000 A New Leaf Elaine May USA 1971 Betoniyö Pirjo Honkasalo Finland, Sweden, Denmark 2013 SAMIRA MAKHMALBAF BELIEVABILITY CHAPTER 3 Why is Frau B Happy? Erika Runge Germany 1968 The Hurt Locker Kathryn Bigelow USA 2008 El Camino Ana Mariscal Spain 1963 Lore Cate Shortland Germany, Australia, UK 2012 Which Would You Choose? Dinara Asanova Soviet Union 1981 Hotel Very Welcome Sonja Heiss Germany 2007 Meek’s Cutoff Kelly Reichardt USA 2010 The Selfish Giant Clio Barnard UK 2013 Hedi Schneider is Stuck Sonja Heiss Germany 2015 Toni Erdmann Maren Ade Germany, Austria, Switzerland, Romania 2016 Point Break Kathryn Bigelow USA 1991 The Blot Lois Weber USA 1921 Frozen River Courtney Hunt USA 2008 Selma Ava DuVernay UK, USA 2014 Not a Pretty Picture Martha Coolidge USA 1976 The Apple Samira Makhmalbaf Iran, France 1998 INTRODUCING A CHARACTER CHAPTER 4 The Moon has Rise Kinuyo Tanaka Japan 1955 Germany Pale Mother Helma Sanders-Brahms West Germany 1980 Vagabond Agnès Varda France 1985 Somewhere Sofia Coppola USA, UK, Italy, Japan 2010 Nana Valérie Massadian France 2011 The Connection Shirley Clarke USA 1961 The Watermelon Woman Cheryl Dunye USA 1996 Wayne’s World Penelope Spheeris USA 1992 Fish Tank Andrea Arnold UK, Netherlands 2009 Ellen Mahalia Belo UK 2016 Girlhood Céline Sciamma France 2015 Toni Erdmann Maren Ade Germany, Austria, Switzerland, Romania 2016 The Story of the Flaming Years Yuliya Solntseva Soviet Union 1961 AGNÈS VARDA Going to a house, overhearing people, witnessing bizarre action – there are many ways to meet people and be introduced to characters in films. In Shirley Clarke’s The Connection from 1961 she has a documentary crew introduce the characters to us; Andrea Arnold puts her characters centre of the frame in Fish Tank; and in The Story of the Flaming Years directed by Yuliya Solntseva the main character is introduced filmed like a statue on a building.