Some years at theSundance Film Festival, a narrative can begin to form around the films making their premiere in snowy Park City. Sometimes the lineup is full of movies about cults. Sometimes it’s full of movies about an adult caring for an elderly parent. But there was something a bit different about the Sundance 2020 movies, which by and large saw female characters taking charge of their own lives in various ways. Not only was this narrative prevalent in a number of the films premiering at Sundance this year, but it’s also probably not a coincidence that 46% of the films in this year’s lineup were directed by women.
The aptly namedPromising Young Womanmade one of the biggest splashes, as writer/directorEmerald Fennell’s feature debut findsCarey Mulliganplaying a young woman who lives a double life following a traumatic event. Details of the plot are best kept secret until you’ve seen the movie, but this is as potent a film about rape culture as I’ve ever seen, and it is absolutely constructed to challenge social norms and stoke discussion. AndBeasts of the Southern Wildwriter/directorBenh Zeitlinreturned withWendy, a radical recontextualization of thePeter Panstory as told through the eyes of Wendy Darling. This new point of view provides a fascinating perspective on the story, and how Peter’s unwillingness to grow up ismaybe not the best of ideas.
Even the documentaries section found women taking charge, as the highly anticipatedTaylor SwiftNetflix documentaryMiss Americanachronicles the pop star’s evolution from apolitical “good girl” to outspoken feminist. We watch as Swift deals with blowback from theKanye Westdebacle and disappointing release of her albumReputation, and along the way comes to decide that it’s time to finally make her political opinions known. It’s not a simple Democrat/Republican issue, as Swift comes at her 2018 backing of two Democratic candidates in Tennessee from the standpoint of a feminist who feels passionate about womens and LGBTQ rights. She gets candid about overcoming her own misogyny, resulting in a fascinating and inspiring watch.
The much-discussed documentaryOn the Recordgives a voice to women who have publicly accused hip-hop mogulRussell Simmonsof sexual assault and misconduct, in particularDrew Dixon.
The Netflix documentaryCrip Campalso finds a woman taking a political stand, in this caseJudy Heumann. This individual has spent nearly her entire adult life fighting for the rights of the disabled, encountering road block after road block, only to persevere. If it weren’t for her persistence and inspiration of other likeminded individuals, we may never have gotten the government to enforce and enact accessibility laws that dare to allow disabled individuals to access and make use of places like movie theaters and public bathrooms—things that should have been a givendecadesago.
Speaking of activists,Julie Taymor’s epicThe Gloriaschronicles the entirety ofGloria Steinem’s life thus far, using a brilliant framing device to allow an older and more experienced version of Steinem to converse with her younger self. This device drives home the idea that becoming a feminist is sometimes a long and winding path full of continual education, and it’s striking to see how Steinem handled harassment and resistance at different times of her life, as portrayed byAlicia VikanderandJulianne Moore.
But women also took charge in more subtle ways too. The wonderfully strange Shirley Jackson biopicShirleyfindsElisabeth Mossdelivering a stunning performance of the mentally ill and maligned horror author. She’s at times abused and loved by her husband, but still finds ways to shine her confident and wholly unique light through the darkness. AndThe Nest, a chamber piece about a couple who moves to London, findsCarrie Coonstruggling to avoid suffocation by her financially irresponsible husband, played byJude Law. Coon brings a quiet intensity to the role, and while the film has a tone of misery throughout, it’s still exciting to watch Coon’s character finally call out Law’s for what he really is.
Even quieter, but no less impactful, there’sYeri Hanin writer/directorLee Isaac Chung’s meticulously craftedMinari. The drama follows a Korean-born family that moves from California to Arkansas so the patriarch (played bySteven Yeun, also excellent) can fulfill the American dream of creating and running his own farm. But from the get-go, his wife Monica is vocal about how this move will negatively impact the family. A feature-long fight over what’s best for their family ensues, and Yeri delivers a truly terrific performance here.
The Sundance lineup also featured films about women in perilous situations who nonetheless do their best to maintain agency. A24’sZola, which is based on a series of tweets, finds a sometimes-dancer being taken on a downright insane road trip alongside a sex worker. Stuck in a terrible situation, Zola takes charge and refuses to let herself be used without getting something from it. And writer/directorEliza Hittman’s abortion dramaNever, Rarely, Sometimes, Alwaysfollows a pair of teen girls who travel from rural Pennsylvania to New York City to seek medical attention after an unintended pregnancy.
There was also the somberThe Assistant, which finds recent Emmy-winningOzarkactressJulia Garnerplaying an assistant to a faceless, abusive movie producer boss. The film follows a “life in a day” narrative as Garner’s character is forced to run interference on calls from the boss’ wife and cart around young, beautiful aspiring actresses to hotels unknown. Garner turns in a subtle yet impactful performance that underlines the difficulty of her situation. Even a comedy likePalm Springsgave its female character agency and the freedom to be complicated, andCristin Miliotiwas more than game.
There are countless other female-centric films that played at Sundance this year, but as you may see it was truly striking to see so many in which women not only played a central role, but took charge of their own lives. And in a year in which the blockbusters, too, reflect this sort of femininity—from Marvel’sBlack Widowto Warner Bros.’Wonder Woman 1984—2020 could turn out to be a banner year for complex female representation in film. Here’s hoping the Sundance Film Festival was a sign of things to come.
