Hey Ho, Van Gogh

At Eternity’s Gate (Julian Schnabel, 2018)

If you need to know — I didn’t know — At Eternity’s Gate is a late painting by Dutch artist Vincent Van Gogh, of an old man with his head in his hands, based on earlier designs. Van Gogh didn’t get to be an old man, having (spoiler) shot himself in the stomach whilst not in a fit state. He is the poster boy for artist as mad, tortured genius, seller of a single painting in his life time and now worth millions per canvas.
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Impeccably Liberal

On the Basis of Sex (Mimi Leder, 2018)

This is the story of Ruth Bader Ginsburg (Felicity Jones) struggling at Harvard Law School because of discrimination against her even by those who admitted women to the university, struggling to get a job as a attorney or lawyer because she might get pregnant or make her colleagues’ wives jealous and then struggling to bring a sex discrimination case that could uncrack the whole canon of sex discriminatory laws. At one point Dorothy Kenyon (a cameo from Kathy Bates) tells her it will take a generation.
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On Pointe

Girl (Lukas Dhont, 2018)

Trans issues are a hot button topic right now — not least because some feminists have an issue with people declaring themselves to be women and sounding in the process as if they have an essentialist view of women closer to the conservative side of the debate. A programme such as Woman’s Hour can have a presenter claiming that sportswomen will no longer succeed as suddenly a lot of male athletes will claim to be women. And a few years back there was a lot of controversy over the (problematic) The Danish Girl, since Eddie Redmayne was a cis actor. Were there any trans actors who could have played the role? Would the film have been funded with one?

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The First Casualty of News

A Private War (Matthew Heineman, 2018)

Marie Colvin was a female war correspondent, following in the footsteps of Martha Gellhorn (and Kate Adie), reporting under fire from many of the hell holes of the world. We know what war correspondents are like from films — hardbitten, tough, driven, sociopathic and unable to maintain normal relationships, slave to the bottle and traumatised if they’d but admit it. It’s still unusually to see a women in this role on film, although since at least the 1930s journalism has been an acceptable job for a woman on screen.

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Beale Street Blues

If Beale Street Could Talk (Barry Jenkins, 2018)

Barry Jenkins is a straight man who seems to be making gay-themed films — his last one, which I recall a bit of a sense of agnosticism about, Moonlight, rightly won the Oscar over La La Land. Here Jenkins adapts the late novel by the great gay African American writer, James Baldwin, in a project that has been long in development. I confess I haven’t yet read the novel, but I gather the ending has been softened, but it remains a powerful piece.
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Scandifantastique

Border (Gräns, Ali Abbasi, 2018)

A couple of times I’ve taught Tomas Alfredson’s adaptation of John Avjide Lundqvist’s Let the Right One In, an intriguing vampire film with a nod to The Tin Drum. There’s been a remake and a TV series and now a short story has been adapted, billed as horror but maybe is better seen as a fantasy or a dark romance.
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