Plot: Mari (Amy Ryan) is waiting at home with her two daughters Sherre (Thomasin McKenzie) and Sarra (Oona Laurence) for her oldest daughter Shannan to arrive. But she never comes. When she doesn’t here from Shannan for a few days, Mari tries to activate the police to search for her. But the officer (Dean Winters) shows little interest in the disappearance of a sex worker, despite the fact that they have a frantic 911 call from Shannan on record. But when they find four bodies close to the gated community where Shannan was last seen, things gather a little more momentum and Mari does everything she can to make sure that there actually is an investigation.
Lost Girls is based on a real case of a serial killer that hasn’t been solved yet (they make sure at the beginning that you know the case is unsolved). It’s usually not my kind of film, but I found myself in the mood for it. And it’s okay, but it didn’t surprise me that I didn’t really love it.
Plot: Jill (Lola Kirke) is the personal assistant to starlet Heather (Zoë Kravitz). She is efficient in her job as she follows Heather around and smooths over the edges of her life. And there are many edges – from disgruntled exes to Heather trying to get out of a film she already committed to. At the end of the day, though, Heather is still frayed and asks Jill to leave her gun with her, a request that becomes more fateful than Jill could have anticipated.
As much as I enjoy watching Kravitz and Kirke, Gemini didn’t manage to convince me, neither of the story nor the characters. But at least it wasn’t boring.
A group of women in New York are starting a campaign to make it possible to walk around shirtless for women as much as men. Young journalist With (Lina Esco) hears about them and gets in touch. At first, she just wants to write a story, but intrigued by the charismatic Liv (Lola Kirke), the leader of the group, she becomes more engaged with the cause itself.
Free the Nipple builds on an actual campaign that Lina Esco started in New York, but the film gives it the fiction treatment in an attempt to condense it. Unfortunately that condensation just makes it very clear that the film is built on cis feminism which severely weakens the activism that is at its core.
Joey (Lola Kirke) doesn’t really have many options in her small hometown. One of the few ways to get out is to join the army, so that’s what she does. It is just then when Joey meets Rayna (Breeda Wool) and falls in love with her. And Rayna seems to like Joey, too. But she’s also married and has two children, which spells trouble for everyone involved.
AWOL has an interesting setting and Kirke is really strong, but other than that, I pretty much ended up hating the film.
Tracy (Lola Kirke) ist about to start college in New York. She doesn’t know anybody there though and has trouble connecting, especially when she doesn’t make it into the prestigious writer’s club on campus. Her mother suggests that Tracy should call the daughter of the mother’s fiancé, her soon-to-be-stepsister Brooke (Greta Gerwig). Brooke enthusiastically lets Tracy into her life that is quite wild and unusual. Tracy is enraptured by Brooke, Brooke’s life and her myriad plans that never seem to come to any fruition.
If I hadn’t already been in love with Greta Gerwig before Mistress America, I would be now. The film is very good, but she is awesome personified.
Plot: Elizabeth Bishop (Miranda Otto) isn’t exactly an easy person, but she is a successful poet. When she receives a travel scholarship she sets out to Latin America. In Brazil, she plans to visit her friend Mary (Tracy Middendorf) there, who lives with the famous archtiect Lota de Macedo Soares (Glória Pires) in a remote location where Lota can fulfill her house dreams and nobody cares about two women in a relationship. Elizabeth and Lota immediately hate each other. But when Elizabeth is forced to stay longer than expected, the two of them grow closer – and Elizabeth’s planned two weeks in Brazil become more and more time.
Flores Rares was good, but not great. Still, even only a good film about two culturally important, complex women is absolutely exceptional and very worth seeing.