By Ariel Neidermeier
From strong female leads to female directors who centered the stories of women, with the 95th Academy Awards just around the corner, we’re rounding up the movies from 2022 that made us think about the triumphs and trials of the female experience.
Disregarding categories specifically reserved for women (e.g. “Best Actress”, “Best Supporting Actress”), only 27% of Oscar nominees in non-acting categories at the 2022 Academy Awards were female according to data from the Women’s Media Center. This represents a decrease in representation from 2020 and 2021, when the share of women nominated was 30% and 32%, respectively. Furthermore, this ongoing lack of representation has continued into this year’s Academy Awards, with female directors shut out from the director category entirely.
Instead, the nominees for the best director of 2022 were strictly male, including Martin McDonagh (The Banshees of Inisherin), Daniel Kwan and Daniel Scheinert (Everything Everywhere All At Once), Steven Spielberg (The Fabelmans), Todd Field (Tár) and Ruben Östlund (Triangle of Sadness).
Who didn’t make the 2022 Best Director nominees list… and should have? Female directors like Gina Prince-Bythewood (The Woman King), Sarah Polley (Women Talking), Chinonye Chukwu (Till), Maria Schrader (She Said) and Charlotte Wells (Aftersun).
Some of the films that follow have been recognized by major awards organizations, many of them have not. Regardless, it's movies like these we want to see more of on the silver screen.
AFTERSUN
Aftersun is a delicate and universal portrait of grief, memory and perception. Told through the eyes of a daughter remembering a final interaction with her father, the memory takes place as she reaches the beginnings of puberty, a tender time when a young woman is waking up to her own sexuality — and noticing others noticing it too. Weaving camcorder footage, memories and subconscious strikes of imagination, writer and director Charlotte Wells seems to channel a memory rather than retell a story. The result is a loving and heartfelt depiction of a father-daughter relationship. Vacationing in Turkey, they tour a mud bath, swim in the sea and sit at all-inclusive buffet dinners. Their relationship is poignant and realistic. Sometimes they squabble, sometimes they laugh, oftentimes they sit in an intimate yet fretful silence. It’s not a story of unique tragedy, but a story that is common to all humans: the experience of loss. There comes a time when all of us will do what’s portrayed in Aftersun: sort through old footage and relive memories of the ones we’ve loved and lost.
ENOLA HOLMES II
A rollicking ride through Victorian-era London through the eyes of an extraordinarily clever young detective, Enola Holmes 2 is for a night when you want to escape into a world where all mysteries — and misogynistic tyrannies — can be solved. This is the second in a series of films that gives a feminist twist on the classic tale of Sherlock Holmes (Enola, played by Millie Bobby Brown, is his younger sister). Enola’s mystery to solve: Find a missing girl and amplify the labor rights of mistreated female workers in the process. Flashbacks to Enola’s unorthodox childhood with her mother played by Helena Bonham Carter grounds this film in an independent quirkiness that makes the high stakes of female empowerment at the turn of the century feel lighthearted — if not downright fun. Buoyant, daring and touching on the importance of human rights and collectivism, this quick-witted film (series) is one to watch.
EVERYTHING EVERYWHERE ALL AT ONCE
Surreal, twisting and full of surprises, Everything Everywhere All at Once manages to blend fantastical plot twists and the mundane scapes of the human experience (the majority of the film takes place in an IRS government building) to tackle tender topics like intergenerational trauma, the immigrant experience and complicated family relationships. Part kung fu action film, part sci-fi thriller, the locus of activity in Everything Everywhere All at Once revolves around a fraught mother-daughter relationship between the exasperated Evelyn (Michelle Yeoh) and her dispirited daughter (Stephanie Hsu). The fantastical interpretation of their discontented relationship in the dream world conjured by the movie’s creators (Daniel Kwan and Daniel Scheinert) is somehow both exhilarating and relatable. In this multiverse, every choice leads to an unending web of paths not picked, and possible lives never lived. Characters can use “jumping pads” — random, improbable acts — to access skills from these unlived lives, tapping into singing talents, martial arts mastery and more to take down their enemies. Another benefit of this set-up is the unending array of possibilities to forgive, love and heal. The feeling one gets after watching this film is one all moviegoers yearn for: hope that anything, anywhere, all at once — is possible.
MRS. HARRIS GOES TO PARIS
From humble beginnings to the height of high fashion, Mrs. Harris Goes to Paris follows the delightful journey of a woman finding her way after tragedy. Lesley Manville plays Mrs. Harris, a disheartened widow toiling in post WWII London. What does Mrs. Harris do when all is lost and there’s nothing left to hope for? She saves up the money to fly to Paris and buy herself a haute couture Dior gown. What follows is a dashing story of love, friendship and the reminder that it’s never too late to have an adventure and discover joy in your life. Mrs. Harris might be a humble housemaid, but she deserves a beautiful dress to make her feel special like we all do. This Cinderella-esque story is whimsical, dreamy and for one hour and 56 minutes, makes the world a much brighter, magical, well-dressed place.
SHE SAID
Based on the nonfiction book of the same name, She Said is a quietly thrilling recounting of the investigation of Jodi Kantor and Megan Twohey, The New York Times journalists who broke the Harvey Weinstein sexual abuse story in 2017. It was this historic investigation that would catapult the #MeToo movement as well as several indictments against Weinstein for sexual abuse and rape. Like a fact-checked, clearly-reported article, the film clearly retells what happened, without grandstanding or extraneous detail. It also sheds light on the methodical precision it takes to build trust with sexual abuse victims in order to break news stories of this nature. The journalistic work of Jodi Kantor and Megan Twohey is masterfully depicted by actresses Zoe Kazan and Carey Mulligan. While the film casts itself in the mold of other depictions of groundbreaking investigative reporting (All the President’s Men, Spotlight) director Maria Schrader tells the story through a distinctly female gaze. You see how Kantor and Twohey’s personal lives are affected by their work and vice versa, with the film tackling the challenges of postpartum depression and the day-to-day balance of work, motherhood and marriage. What the viewer is left with is an elegant and realistic portrait of professional women doing great work.
She Said should be viewed with a trigger warning to those sensitive to material suggesting or depicting sexual harassment and abuse.
THE WOMAN KING
The Woman King is a triumphant film. Directed by Gina Prince-Bythewood and led by a spectacular performance by Viola Davis, The Woman King tells the true story of an army of women warriors in the precolonial West African Kingdom of Dahomey. From nail-biting battle scenes to inspiring montages of young warriors learning to fight, this movie showcases the dynamic strength of Black women. It’s particularly riveting to see a film that forgoes superhero strengths and magical gifts to imbue women with skills that are realistic and human. These warriors can twirl javelins, spin ropes and throw swords with exquisite skill. War scenes are balanced with a healthy dose of cultural celebration, including African dancing, singing and joy. The Woman King is also grounded in a tender depiction of sisterhood, chosen family and mother-daughter dynamics. It’s films like these that feel like a much-needed victory in today’s constantly bleak news landscape. And, it’s films like these that remind us that throughout human history, lurking in the shadow of every story of suffering is a story of transcendence too.
The Woman King should be viewed with a heavy trigger warning to those sensitive to material suggesting or depicting sexual violence.
THE SWIMMERS
The valiant and true story of the Mudini sisters provides viewers with a good cry and a healthy helping of hope. Focusing on the tale of two Syrian sisters trained in competitive swimming, younger sister Yusra’s (Nathalie Issa) aspirations to compete in the Olympics might be the connecting thread in this film but what belies it is an important story of the refugee experience. Yusra and Sara travel from Syria to Turkey, swim for their lives during a harrowing boat ride from Turkey to Greece and continue their dangerous trek across the Hungarian border. Making it to Berlin, they’re left to wait in an interminable limbo of refugee camp life and paperwork while also hoping to see if they can bring their remaining mother, father and young sister to safety from Damascus. In its twists and turns, The Swimmers is like a modern-day odyssey but one that is far from myth. Almost exactly 12 years since the start of the Syrian Civil War, it’s a stark reminder of the millions of refugees (half of whom are under the age of 18) who continue to risk their lives (and lose them) to find safety, freedom and hope in lands far from home — an ongoing global crisis that would do all of us good to remember.
TILL
Retelling the true story of Emmett Till through the eyes of his mother, Mamie Till-Mobley, Till reminds us of what it takes to open the eyes of a nation. In a heartbreaking scene depicting Emmett’s funeral, at which Mamie insists to show his body in an open casket, her crying aunt chokes “I can’t look at him,” to which Mamie responds: “We have to.” In the same way, Till asks us to look at the human consequences of our nation’s chronic violence against Black people. It is inconceivable to murder a 14 year-old boy for whistling, just as it is inconceivable for us to look at his brutalized body in the film. A stunning performance by Danielle Deadwyler paints a vivid portrait of a woman whose grief and strength transforms history. It’s because of Mamie Till-Mobley that we continue to hold Emmett Till’s story in our hearts with anguish. It is because of Mamie Till-Mobley that the names of so many unjustly taken bright souls are still shouted and remembered. The solitary suffering and eternal conviction of mothers like Mamie Till-Mobley galvanized the Civil Rights movement, the Black Lives Matter movement and beyond, a fact that Till masterfully brings our attention to.
WOMEN TALKING
Women Talking is a one hour and 44 minute film that showcases exactly that: a group of Mennonite women talking about what to do after suffering unspeakable violence. Their options: forgive, stay and fight, or leave. Based on a true story, the film begins with the words “what follows is an act of female imagination.” These words set the stage for a sequence of events that feel dream-like, the way abuse can feel dream-like when individuals are gaslighted into disbelieving their own suffering. In a welcome respite from the fetishization of female pain and sexual violence often depicted on the silver screen, director Sarah Polley skillfully invokes the abuse that took place without ever actually depicting it. Instead, the conversations of the women processing their experiences are centered —- as they should be in the aftermath of abuse. Balancing the horror of the events recounted is a beautiful depiction of strength and sisterhood. It’s inspiring to watch a group of women who have never been taught to read or to think independently conjure the magical thinking required to believe they can assert their freedom. It makes one believe that the simple act of a group of women talking could very possibly change the world.
Women Talking should be viewed with a heavy trigger warning to those sensitive to material suggesting or depicting sexual violence.
Official movie posters sources: Aftersun by A24 Films, Enola Holmes 2 by Netflix, Everything Everywhere All At Once by A24 Films, Mrs. Harris Goes to Paris by Focus Features and Universal Pictures, She Said by Universal Pictures, The Woman King by Sony Pictures Entertainment, The Swimmers by Netflix, Till by United Artists Releasing and Universal Pictures, Women Talking by United Artists Releasing.
About the Author - Ariel Neidermeier (she/her) is a first generation Filipina-American writer educated in journalism at Emerson College and international relations at the University of California, San Diego. She lives in the San Francisco Bay Area.