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Lee Dong Shik & Han Joo Won + Letterboxd Reviews

if god existed, i think they would be warm. i think god would sit beside you, hand on your shoulder and let you cry about being confused and upset about everything. i think they would smile at your little jokes and encourage you with quips of their own. i think they would love the dewdrops on blades of grass and balmy summer nights and the cat hairs that stick to your black t-shirt. i think god would buy you your first binder. your first drink. laugh when you choke at the acidic burn of liquor down your throat. keep your hair back when you thrown up. hold your hand when you parents scream at you for being queer. i think god would wear dresses and skirts and pants and blazers and all the clothes in the world and look fantastic wearing them. i think god would be kind when you stumble. i think god would love you for your flaws, for your humanness, for the sweat that sticks to your forehead, for the baby hairs that fly in the wind, for the little pimples that rise when you're stressed. god would love you because of it. not in spite. because they would know that they created you as human, as real and raw as a leaking wound. they wouldn't ask you to lock yourself in a cage of expectations and rules and law. god would be free. god would be like you and me because they created us. god wouldn't be some terrible, looming entity watching us with a judgemental eye. god wouldn't let us burn. i don't think god could bear it, really. i think god is so much better than we humans give them credit for. my god, if they exist, will be the nightlight in child's bedroom, the coffee you drink in the morning, the first bite of your favourite meal, the giggles at a sleepover, the panadol you keep in your purse in case your friend ever needs them, the hand that cradles, the mouth that kisses, the voice that soothes. god will be nothing like they told me. god will be so much better.

Favourite woman-directed films I saw in 2018

It’s funny because when the year started I thought I could never watch 52 films by women, considering that I usually barely watch fifty films a year, total. Then I watched 306 new-to-me films, out of which 105 were directed by women.

I saw so many good woman-directed films that I thought it would be hard to choose ten to make this list, but then I realised that I only had to include those films that absolutely blew my mind, and bam! Ten already.

Winter’s Bone (Debra Granik, 2010)

On Body and Soul (Testről és lélekről, Ildikó Enyedi, 2017)

We Need to Talk About Kevin (Lynne Ramsay, 2011)

River of Grass (Kelly Reichardt, 1994)

The Midnight Swim (Sarah Adina Smith, 2014)

Raw (Grave, Julia Ducournau, 2016)

M.F.A. (Natalia Leite, 2017)

Daisies (Sedmikrásky, Věra Chytilová, 1966)

Always Shine (Sophia Takal, 2016)

Revenge (Coralie Fargeat, 2017)

Very broadly speaking, these ten can be divided into three categories. There’s gorey, imaginative, feminist genre – Revenge, M.F.A., Raw; there’s visually and/or narratively boundary-expanding cinema – Daisies, Always Shine, The Midnight Swim, We Need to Talk About Kevin, On Body and Soul; and then there are the indie stories about marginalised people, which might be my favourites of all – here, River of Grass and Winter’s Bone.

When 2018 started I had only seen one film by Kelly Reichardt, and none by Debra Granik. Now they’re both among my favourite filmmakers. When I saw my first Kelly Reichardt film, years ago, I thought Wow, some people do make films about actual people. I’ve seen all of them now, and I liked all of them, but it wasn’t that hard picking River of Grass for this list – there’s something so Carson McCullers, so Flannery O’Connor about the story, and visually it is so dreamlike.

I put Debra Granik together with Kelly Reichardt because their stories feel similar in many ways (and both feel similar to Agnès Varda’s), and seeing Winter’s Bone I was just completely blown away. It’s one of those films I would unreservedly call a masterpiece, and recommend to absolutely everyone. What places it above Leave No Trace (which I put as my number one new release of 2018) is the plot, and the ending especially, both completely surreal and mundane, like a cherry on top of spectacular acting and visuals worthy of Dorothea Lange .

Another slap in the face was We Need to Talk About Kevin. Together with a few other films in this list, it made me ponder what film can really do in terms of creating intricate, media-specific experiences that ultimately serve to provide a more rounded understanding of reality and what it means to be a person. We Need to Talk About Kevin was the first of these and probably had the biggest impact on me. Lynne Ramsay really is one of the few people with a completely unique vision.

I put Daisies, Always Shine, The Midnight Swim and On Body and Soul in the same category, although they don’t have a lot in common with each other, because they all have this aspect of visual and/or narrative boundary-pushing. It is so incredible that Daisies still feels like that to a first-time viewer today, even though it came out more than fifty years ago.

I saw Always Shine and The Midnight Swim around the same time and keep associating them in my mind for the nods to David Lynch, indie feel, and non-linear storytelling. Probably The Midnight Swim impressed me more, because it was the first time (and only, so far) that I saw a first-person narrative that looked quite like that.

On Body and Soul belongs in the same area of this mental map mainly because of the dream sequences. Before I saw it I probably would have found it impossible to talk about dreams in a way that didn’t feel recycled, but this managed just that. The juxtaposition of the wild forest animals at night with the cattle in the slaughterhouse during the day walks such a fine line between surrealism and social commentary, and the slaughterhouse sequences are all filmed with such incredible tact – which only serves to make them more shocking.

Then there are the great genre films. Raw was fantastic, in part because it is so rare for a French person such as myself to find a French film to her liking, but also because everything about it felt so different – it is firmly set in the horror genre, but it also draws from such a wide range of influences. M.F.A. and Revenge mirror each other in many ways, because they’re both rape-revenge films, a sub-genre I am incredibly glad and grateful that women are tackling in such interesting and challenging ways. I liked M.F.A. better, maybe, because it felt more real, and the ending better-thought-out, but if anything, I’d recommend a double-feature night to watch both.

Great films that didn’t quite make the cut, in no particular order:

Addicted to Fresno (Jamie Babbit, 2015): best sex comedy about actual grown-ups

I Think We’re Alone Now (Reed Morano, 2018): best post-apocalyptic “everyone is gone from the surface of the Earth but us” film

Ginger & Rosa (Sally Potter, 2012): best Cold-War England drama

Meek’s Cutoff (Kelly Reichardt, 2010) : best contemplative Western

Into the Forest (Patricia Rozema, 2015): best post-apocalyptic survivalist feminist film

Vagabond (Sans toit ni loi, Agnès Varda, 1984) : best film shot in my area of France

Khadak (Peter Brosens and Jessica Hope Woodworth, 2006): best science fiction film that takes place in Mongolia

Over time, I’m finding it easier and easier to watch more woman-directed films, both because I know where to look and because I’ll find it easier to relax and get into any genre at all when I know there’ll be infinitely less chance of rampant misogyny ruining an otherwise perfectly good film. It seems barely believable, now, to think that five years ago I didn’t know one single woman director, when clearly the quality and the variety are there, the work is there, and it stands so tall on its own.

Full 105-film list under the cut!

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remember when fire era jin happened

and army was found dead in a ditch.

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me whenever I catch a glimpse of jimin

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sope in a nutshell is just: yoongi couldn't get any more obvious and hoseok couldn't get anymore oblivious