A Terrible Year for Audiences: The 10 Best and 10 Worst Movies of 2017
2017 was a lousy year for audiences.
Maudie
Fall in Love with ‘Maudie,’ a Female-Forward Film set in a Backward Time
Cruel beautiful world (a title stolen from novelist Caroline Leavitt) perfectly describes the animating vision behind Aisling Walsh's magical Maudie.
Film Festivals’ Female Problem: Women Defy Odds and Demand Room at Toronto Table
Fuck buzz. That’s how I feel addressing Toronto’s female-driven movies, whether directed by women or not. Because buzz reflects the 80 percent male gender bias, writing about film fails to connect meaningfully with the real audience that is—duh, ask your mothers—50 percent female. For me, the greatest metaphor for the plight of women film artists is Aisling Walsh’s Maudie, an intense wee biopic about the outsider artist Maud Lewis with an Oscar-ripe performance from the great empath Sally Hawkins. (“If it weren’t for Hawkins,” condescends Variety’s Peter Debruge, “there would be little to distinguish Maudie from the sort of 16mm filmstrip made for schoolchildren back in the day.” Wrong!)
