March: Insurging Through My Top Five Cinderellas

Posts, The Other Movie Project

This installment in The Other Movie Project blog is a bit late and I’m sorry to have kept you waiting, but let’s kick on and insurge through the new movies showing in March that were not about white men!

1. Chappie

I don’t know what to make of this movie. Its sentimentality is at times sickening, but its handling of serious themes is also weirdly flippant. And the ending does not feel earned at all.

Dev Patel is wonderful as always, and I look forward to telling him so during our inevitable courtship. Hugh Jackman is one of my favourite movie villains of the past few years. With his tough guy mullet and biology teacher shorts, he is a very believable toxic macho Australian bully boy. Imagine a guy like that getting in charge of military operations. Terrifying.

Where did that come from

Imagine.

There are two female characters (who do not speak to each other): Sigourney Weaver and Yolandi from Die Antwoord. They portray, respectively, Sigourney Weaver and Yolandi from Die Antwoord. Weaver appears infrequently to yell “NOPE” at a male character, and Yolandi becomes “Mummy” to Chappie, then eventually dies so that Chappie can feel sad and motivated about it. That’s not a spoiler because what else did you think could happen?

Back to Chappie himself – why did I never doubt that he was a ‘him’? All of the characters assume his maleness from the get-go. But he’s a robot? He doesn’t have biology? On looking back, this movie may not actually qualify for The Other Movie Project. Chappie is voiced by a man of the whitest order, but I’d thought the movie was mainly about Dev Patel. Nope. It turned out to be about a white man dressed as a robot. Tricked again.

2. Top Five

This is the first really funny movie I’ve seen this year. And I. Loved. It. The storytelling is tight and the performances are great. Chris Rock can say a lot with an eye-squint. And he has created an actual woman role for the wonderful Rosario Dawson, who reads like an  Actual Real Woman.

The movie’s attitude towards women is surprisingly positive (I say ‘surprisingly’ because I’ve seen Chris Rock’s stand-up), other than some eye-rolly moments of mansplaining on Chris Rock’s part. For example: “You know you’re beautiful, right?” SHE KNOWS, CHRIS. PRETTY SURE ROSARIO DAWSON OWNS A MIRROR.

There are undertones of homophobia (Dawson becomes disgusted with her boyfriend when he shows enjoyment of butt play, and instead of talking to him about it violates his body because of course), which I found frankly disturbing. Other people say it better than I can.

Also troubling is the main character’s anecdote about his “rock-bottom moment”, in which he watches two women with whom he was having a threesome, have a threesome with another man. They turn from “angels” to “disgusting” in his eyes, and he appears traumatised. Something something, gate-keeping of female sexuality, something.

Oh and later, when the women are annoyed about something, they immediately yell “rape”. Awesome.

3. Focus

This should have been much more interesting. Like, we know Will Smith is charming, right? We know he’s charismatic? So how come it barely came through in this movie? Instead, I guess the FRESH Prince comes off … a little STALE.

I"m proud of myself.

I”m proud of myself.

Focus has never heard of the Bechdel Test. Margot Robbie has the only female speaking role in the movie. Oh, I’m sorry, there is another female speaking part – one woman says “OK” to Will Smith when he asks her for money. Good hustle, team!

Margot Robbie – or, to use her proper name, Donna from Neighbours – is the best thing in this movie. She is funny, engaging and cool. She is also insanely beautiful. Which is another thing about Focus – for having two such charming leads, it is surprisingly sexless. It’s mostly too preoccupied with grinding through complicated plot set-ups. I got a bit lost in the details. Or maybe I just needed to … FOCUS.

Hooo, TWO of them! What!

Hooo, TWO of them! What!

Points to Focus for having a twist ending that actually surprised me – and I think it played on the audience’s expectations of race in a pretty smart way. Well played, Focus.

4. Insurgent

I have already forgotten this movie.

Still, it was pretty cool to see a scene in which the female villain (Kate Winslet) taunts the female hero (Shailene Woodley) that her mother (Ashley Judd) was not all that she seemed. Bechdel Test: exploded into a million pieces of glittering CGI.

Octavia Spencer shows up for a minute at the beginning of the film to dole out life advice to the little white girl and then disappears forever. Guys, this is not okay. There’s a name for this trope, but I’ll let Octavia explain it.

5. Cinderella

I spent most of this clunkasaurus looking at Twitter (dropping my phone only when Our Lady of Perfection Cate Blanchett was in frame).

Screen Shot 2015-04-14 at 12.59.29 pmThe little kids in the cinema seemed pretty content, but even they were watching in silence.

Screen Shot 2015-04-14 at 12.59.15 pmAt this point I started wriggling in my seat and pining for a juicebox.

Screen Shot 2015-04-14 at 12.59.06 pmTurns out I wasn’t being paranoid, I was just noticing the actual physical distress that her body was in.

Screen Shot 2015-04-14 at 12.59.37 pmHow do you fit your crown over that massive fedora, prince.

Screen Shot 2015-04-14 at 1.00.07 pm“Women just love shoes lol!!”

Screen Shot 2015-04-14 at 12.58.49 pmGame of Thrones is probably closer to the original Brothers Grimm tales anyway.

6. A Little Chaos

More Kate Winslet! As a landscape-gardener in 17th century France! But unlike in Insurgent, she has non-ridiculous dialogue to say. However, this is kind of a strange film. The direction (by Alan Rickman) is … odd. Scene transitions are awkward. And the central romance between Winslet and a plank of wood Matthias Schoenaerts is so unconvincing that supporting characters have to keep remarking upon how convincing the couple’s romance is. In case we forgot that they were in love. Because I did.

My favourite thing about this film is that we have a protagonist who is clearly living with post-traumatic stress syndrome, but the main conflict does not arise from her mental health issues. Rather, the cause of her trauma is revealed in well-paced flashbacks and serves to provide greater depth to the character. The main narrative conflicts have to do with class, social structures, and the ol’ struggle of progress versus tradition.

It was pleasant to watch a period drama with a female protagonist who is trying to get her job done despite many obstacles, both internal and external. Some scenes are quite moving, and if Rickman had cut out or reworked the awkward romantic storyline this would have been a much better film.

Number of movies released near me in March that were about white men:

Nineteen.

FYI (French Your Information):

There was also the French Film Festival on during March, which I haven’t counted in my project, because I just couldn’t afford to see that many movies during one month. However, I counted up the FFF films:

French movies about white men: 31.

French movies about anyone who wasn’t a white man: 15.

Some of the films are getting a post-festival release in my local cinemas so I will get to see some French films, don’t you worry. (And not ‘A Little Chaos’ French, where everyone is British.)

And, just for fun:

Of all movies released so far this year that were about a female protagonist, the character was a white blonde woman in 57 per cent of them.

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February: The Second Best Jupiter Ascending Over Selma And Alice

Posts, The Other Movie Project

Whoa! February actually achieved parity in white-dude and non-white-dude movies released near me! I didn’t even manage to watch all of the films that qualified for my project, for reasons I will explain further on. What is my project? I have challenged myself to watch every movie released at a cinema near me that is not The Story of A White Guy. I am interested in how intersectionality affects my movie-going choices, so I am watching every movie available that is about a woman and/or a person of colour.

Still Alice Twitter screen shot

1. Still Alice

I put on my pinkest pants and my most mentally healthy head and made sure I was exposed to plenty of sunshine and put chocolate in my purse and then I went to see Still Alice.

I needed every self-care strategy I had.

Still Alice is the story of Alice (Julianne Moore), a linguistics professor who finds out she has early-onset Alzheimer’s disease. We watch her deteriorate on-screen. It is brutal. Thank goodness the cinema was nearly empty and I was sitting up the back because I wept from credits to credits. Yet the film is gentle, elegant. Not only is Julianne Moore the queen of everything, but the film direction makes sure the story is told from her character’s perspective. I didn’t notice until the end of the film that none of the action takes place out of Alice’s presence; it is entirely her experience of the disease. So often, stories about devastating illness focus on the experience of the people who must care for the ill person, but Still Alice never stops being about Alice.

Kristen Stewart is wonderful as Alice’s youngest daughter, who steps up to play a major role in her mother’s care. “Thank you for asking,” Alice says to her daughter when asked what Alzheimer’s feels like. Still Alice shows us the creativity with which Alice manages her condition, and her determination not to lose herself. It asks, What is it like to live with this? As someone with a debilitating and poorly understood disease, I was grateful to this movie for asking.

2. Selma

The first movie released near me this year to be about a person of colour, and, unbelievably, the first theatrical movie ever to feature Martin Luther King Jr as a main character. No, really. The first. And it took Oprah Winfrey and Ava DuVernay to push it through.

I knew this movie was about Martin Luther King Jr, but I’m going to have to step up right now and admit that I thought Selma was the name of a female character. My US Civil Rights’ Movement history is sorely lacking. But you don’t need much prior knowledge to be affected by the significance of the film’s events. It is narratively tight; the movie opens in the town of Selma, at a time when King is already an influential civil rights leader and African-American people have won the legal right to vote. But legal rights haven’t translated into equal rights, with black people still being blocked from voting by systemic racism. King fights to raise support for the Voting Rights Act through a historic march from Selma to Alabama’s capital. The opposition to something as simple as the equal right to vote is violent, ugly and all too familiar, with scenes reminiscent of Ferguson.

Let’s go back to the thing about Selma being the first MLK film. I found out while researching this post that most films about the American Civil Rights era have accessed the events through a white character (for example, The Help). David Oyelowo, who plays King in Selma, has said:

“There was a study done around the police in a certain state in this country, and they admitted that there is an inherent fear of the black male … So subconsciously or consciously, to have black powerful men driving the narrative as protagonists is frightening for America. And frightening for Hollywood. Subconsciously there is an allergy to it.”

It is indicative of my blind spot as a white person that, although I’ve always admired MLK, I had no idea that he’d never been the main character in a movie about him.

Selma contains breathtaking moments of violence, all the more shocking because they jump out between talky scenes of bureaucracy and strategy meetings. The movie also features a particular moment during which I punched the air and shout-whispered “WINFREY!” Oprah is so, so good in this, and she also co-produces. Selma cements its feminist cred by being directed by the first African-American woman to be nominated for a best director Golden Globe, and by passing the Bechdel Test with flying colours (thanks to one of my favourite scenes, in which one African-American woman speaks at length to another African-American woman on why she is proud of her ancestry).

If this is still showing near you, go out and see it.

3. The Second Best Exotic Marigold Hotel

Alternate tag lines I suggested to no one:
‘The Sequel That’s Keeping It Dench’
‘The Dames Are Back In Town’
‘Downton Abbey Lost Its Money And Moved To India’

the-best-exotic-marigold-hotelI was charmed by the first Best Exotic Marigold movie, and the sequel did not disappoint. This is sweet comfort viewing, dripping with fairy lights and even a couple of dance breaks. The sequel builds on the first movie’s already large ensemble cast, adding Richard Gere, Black Books‘ Tamsin Greig, and a bigger part for the formidable Lilette Dubey. Sonny (Dev ‘I’ve Been In Love With Him Since Skins‘ Patel) wants to open a second hotel before his wedding, with the help of reformed racist Muriel Donnelly (Maggie ‘Dame By Name, Dame By Nature’ Smith), but his myopic ambition is threatening his relationships. Will he learn his wedding dance in time to save his marriage? Will they find out who is the mysterious spy sent to appraise their hotel? Will Bill Nighy make it through a complete sentence? It’s all adorable and I love it.

There were quite a few moments in the movie where I balked at what seemed like blithe colonialism: white gentry moving in and taking Indian jobs (leading regional tours even though they have to have a local child feed them information). But I thought there was poetic justice in the way Sonny gets his second hotel in the end (spoiler!), and the property he takes over is the Viceroy Club – a leftover of British colonialism. The last we see of the ‘White People’ Club’s romanesque columns, they are being decked out for an Indian wedding reception. It seemed right.

I enjoyed watching a movie that represented younger and older generations without resorting to ageist stereotypes or confected intergenerational warfare. It just avoids progressivism, however, by falling into the sequel trap of attempting to tie up all their stories with neat (hetero-normative, monogamous) bows. I note with interest that the franchise’s only gay character (played by Tom Wilkinson) died in the first movie after a lifetime of unrequited love. But look, the straight people are dancing!

Look, the main thing for me was that The Second Best Exotic Marigold Hotel begins and ends with the Dowager Countess Maggie ‘McGonagall’ Smith, and you can’t go wrong with that. I found it genuinely uplifting, and frankly I needed that after Still Alice and Selma.

4. Fifty Shades of Grey

The movie adaptation of the book that reportedly romanticises an abusive relationship. I wondered if Fifty Shades would even qualify for this project, since the title refers to its white male protagonist (antagonist?), Christian Grey. But a quick skim of the internet showed that the story is about Anastacia Steele’s emotional journey/’erotic awakening’. I don’t know how true that is, because I have not seen the movie. I am not going to see this movie. At least, not at this time. I am sorry – to the people who said they were looking forward to my review, and to consistency for breaking it – but I just cannot. Not for political reasons, although I have those; I’m avoiding Fifty Shades of Grey for personal reasons. At the top of this post I talked about self-care, and this is me doing that. However I would like to note that this is not a stance against BDSM or erotica or romance – or even Twilight fan-fiction – in any way. I just don’t have the spoons to watch something that potentially dresses up abuse as romance.

5. The Wedding Ringer

I also missed this Kevin Hart comedy, not for any reason other than I was travelling and did not have time to catch it. I will try to watch it soon and include it in a later post.

6. Jupiter Ascending

Fuck, this was bonkers. Channing Tatum was a dog person? Mila Kunis nearly married her grown-up son? Eddie Redmayne was trying to be Gary Oldman in The Fifth Element crossed with Richard Roxburgh in Moulin Rouge if both of them had had lip implants?

I almost didn’t watch Jupiter Ascending for this project because, based on the trailers, I’d thought it was about Channing ‘White Guy’ Tatum, with Mila Kunis as his romantic interest/trophy to save. In fact, most of the marketing made it seem this way. I didn’t even realise until I was watching the movie that Jupiter is the name of Mila Kunis’s character. The movie is all about her: she is the title character; she has the main arc; she is in nearly every scene; she even narrates the introduction! Channing Tatum is her helper friend. And yet, this is how the billing was listed wherever I looked:

From Wikipedia

From Wikipedia

From IMDB

From IMDB

From the trailer's YouTube description

From the trailer’s YouTube description

From the poster

From the poster

… And please don’t tell me Tatum is the ‘bigger name’. Mila Kunis was in Black Swan, people. BLACK. SWAN.

Anyway, I didn’t hate this film. It was fun. They went BIG. Mila Kunis is endlessly watchable and got a few good laughs from the audience. (Eddie Redmayne got the only other laugh, unintentionally. Sorry Eddie.) The cast was diverse, for Hollywood, and it was exciting to see Gugu Mbatha-Raw (from the seriously underrated 2013 film Belle) pop up. In fact, instead of watching Jupiter Ascending, maybe you should go find a copy of Belle. Belle is great. Watch Belle.

If you’re still not sure whether you are someone who would enjoy Jupiter Ascending, it is easy to find out: does the following phrase appeal to you? ‘AMERICAN-AUSTRALIAN SPACE OPERA.’

My answer was yes.

Number of movies released near me during February that were about white men:

Five! Not bad, world.

January: Into The Woods, Wild

Posts, The Other Movie Project

This is the first post for my 2015 blog project, The Other Movie Project. I am challenging myself to watch every single movie showing near me that is not about a white guy. For the month of January, I found two movies that qualified. Two. Find out more about The Other Movie Project here.

Into The Woods

Screen Shot 2015-02-01 at 10.21.43 pm
Tricked by posters and IMDB and cinema listing citing the lead actor as Meryl Streep, I thought Into The Woods would be a movie about a kick-ass witch who is unexpectedly complex and sings touching songs and has long chats with other complex female characters. Or, Into The Woods was about Emily Blunt, or Anna Kendrick. So many rad ladies in this ensemble cast, it had to qualify! So I went to see it, and discovered that it was actually a story about a whiny baker man.

Though there is a large cast of characters, all of their stories somehow center around The Baker (played by white guy James Corden). Emily Blunt The Baker’s Wife is also there, who is named The Baker’s Wife even though we are introduced to both of them in the bakery at once, both very definitely and very equally baking. Like bakers. Although I suppose technically what Emily Blunt is doing is baker’s-wifing. She is a prominent character but I’ll get to why the story isn’t about her in a minute. The action really begins with the witch (The Indomitable Streep) bursting into the bakery and telling The Baker that she put a curse on his family over beans or something. She gives James Corden and Emily Blunt a series of tasks to complete and a clear deadline and disappears to go advance the plot somewhere else. Then begins a tediously recurring conversation in which James Corden tells Emily Blunt to stay home while he goes on adventures because he is The Baker and she is only The Baker’s Wife.

The rest of the movie is James Corden learning lessons and growing as a man and realising that his wife may actually be more competent than him, while his wife runs around doing most of the work and then dies so that The Baker can feel sad about it. The finale of the movie is all the remaining woman and children (those not killed in the giant attacks caused by Beanstalk Jack’s reckless disregard for other people’s property) gathering around James Corden and asking if they can go home with him. There you have it. James Corden learned to sort of respect his wife. James Corden learned not to abandon his baby. James Corden learned to be a leader. James Corden is rewarded with a family and Cinderella The New Baker’s Wife. The emotional arc is James Corden’s. James Corden narrates the whole damn film. Into The Woods is about James Corden. So tricked.

This movie had so many holes, and most of them were fallen into by female characters. The greatest threat to life in this movie was Falling Over. Jack’s mother (unnamed) is killed by being pushed over. The powerful, terrifying giant (“a female giant!!”) perishes by lying down unexpectedly. Meryl Streep and Emily Blunt fall out of frame and presumably die, without warning or fanfare. I was sure they were fake-outs, and kept waiting for them to spring back into frame, the witch cackling and Emily Blunt saying “Surprise Baker, I’m back, now get your cow eyes off Anna Kendrick”. I was gobsmacked because I naively thought the whole “helpless women sprain their ankles at inopportune moments” trope had died with the 70s.

And feminism dies with the last words spoken by a female character in this film: “Yes [indicates male character], I will come live at your house. There are times when I actually like cleaning!”

FUUUUUCK.*

(All that said, I really loved the scene where the two campy princes sing a campy song about their man-feelings atop a waterfall. Would like to see re-released as a Cracked short film titled Princes Have Feelings.)

*I have been told that Into The Woods is not a great film adaptation of the original Broadway musical, which I haven’t seen, so please know that I am only critiquing the movie as a stand-alone text. I hold out hope that the stage musical makes a tonne more sense.

Wild

Out of the woods and into the wild. All the promotion I’d seen for this Reese Witherspoon vehicle made it look, frankly, super boring. Promoted clips were mostly of her walking, looking tired, or fiddling with her shoes. The general impression I got from reviews and people’s comments was that the central character, Cheryl Strayed (Reese Witherspoon), was unlikeable and had “made a lot of really bad life choices”. I’d seen Sean Penn’s Into The Wild (2007) a few years ago and thought, OK, I guess I’m about to see the girl version of that.

Nope, nope, nope.

Wild was so much better.

Wild is glorious. I recommend that you go see this if you can. I did not find it boring for a second, and I don’t know why I had that impression. I hope it’s down to poor marketing, and not too much to internalised sexism.

I don’t want to make too many direct comparisons to Into The Wild, but it’s so easy. Where in Into The Wild Emile Hirsch’s McCandless felt inscrutable and self-satisfied, Witherspoon’s Cheryl Strayed is someone I could relate to. We are invited into her inner monologue, her motivations, her meditations on her own flaws. I felt wholly invested in this character. When I saw Into The WIld, I couldn’t help thinking that the film idealised McCandless’s abandonment of his family. Wherever he went, he always seemed so pleased with himself. Yet Wild doesn’t rely on sweeping vistas to insert poignancy into the narrative. Strayed’s backstory is revealed in well-paced flashbacks, and the scenes between her and her mother (Laura Dern) are so painful it’s perfect.

One criticism would be that too much is made of Strayed’s promiscuous past when the narrative calls for examples of her “bad life choices”. However, just when it looks like slut-shaming, Strayed has a one-night stand that has nothing to do with self-destruction and everything to do with her own pleasure. She is complex and has agency. Thank the Lady Witherspoon (who optioned Strayed’s book and got this movie off the ground with her own money).

It is a rare movie that shows a variety of male micro-aggressions against women from a woman’s perspective, and futhermore presents them as incidental to the story. Male entitlement is part of Wild‘s landscape, no more or less than rattlesnakes and empty water tanks. And, blessedly, we don’t have to witness any graphic violence. Casual sexism aimed at Strayed isn’t a ‘primer’ for some awful act; it is the act in itself. I don’t think I’ve seen a film that captured this particular social phenomenon so accurately. And it was done with wit and compassion. Good stuff.

Number of movies showing near me during January that were about white men:

Thirteen.

Also notable:

Out of the two movies I saw (Into The Woods and Wild), I recall only one speaking role occupied by a person of colour. So, yep. Not great.

The Other Movie Project: Here we go!

The Other Movie Project

For 2015, I have challenged myself to watch every single movie released in a cinema near me that is not a story about a white guy. Is the movie about a woman, or a man who is not white? I must watch it. Is the movie about someone who does not identify within the gender binary? Heaven help me, I must watch it, because it would be wonderful to see.

I’ve noticed how many movies (and TV shows and books and articles and narratives in general) centre around a white guy. If a woman or a man of colour does occupy a leading role in a film, they are almost always an offsider or partner to a white guy. They’re the love interest, the villain, or the best friend. They’re the other character. I am pushing myself to challenge this internalised bias, that stories about white men are inherently more valuable. I feel like I’ve watched plenty of movies that follow the emotional journeys of white men. I want to watch the other movies.

So I’m putting my money where my mouth is. If a film is released in a cinema near me, and the narrative centres around a woman and/or a person of colour, I will go buy a ticket and watch it. Movies about women of colour? Bonus points!

By seeking out movies about non-white-guys, I’ll have to actively notice how many movies are about white guys. At this point, I’m not sure what the stats are. I might end up watching hardly any movies for this project. I might end up spending heaps on movie tickets (I kind of hope so). How do industry statistics translate into session times at Australian cinemas? I’m going to find out, at least for Brisbane.

After each month is over, I’ll blog about the movies I saw (and the ones I didn’t). First post coming soon. Here we go!

Ermagerd I made a podcast

Just A Spoonful Podcast

My baby is aliiiive! It’s real: an idea that I conceived to distract me while I was stressed and working dumb hours to get Not Much To Tell You ready for Metro Arts/Queensland Poetry Festival. I was struggling because my health hit one of its low periods a couple of weeks before the theatre season began. Cue panic attacks, clutching chai teas and wailing “WHY THE FUCK DO I DO LIVE PERFORMANCES, I AM CHRONICALLY FATIGUED.” With much scheduled rest time and Gatorade, I made it through the season! And stumbled giddily into my next project: this podcast.

just-a-spoonful-headerJust A Spoonful is a fortnightly conversation between me (ME/CFS sufferer, professional goofball) and a guest – another young person who is living with chronic illness and/or disability. (It was going to be weekly but I am too bloody tired for that.) We talk about our day-to-day lives – how we live, what we live for. I don’t know any spoonies (good term, I recommend Christine Miserandino’s post on The Spoon Theory) who don’t do anything. For me, having a fraction of the energy a healthy person would have means that I am much more precious with it. I try to work on things I really love. This podcast is an excuse for me to find interesting people who are somehow coping with permanent challenges and chat to them about their lives and their interests and giggle into their awesome faces.

Much thank-you to the amazing Erin Michelle for illustrating the podcast artwork. She is a super talented artist and does commissioned artworks so you should check out her Etsy right now. (I particularly like her ‘Selfie While Crying In Public’. I was like, here is a person who knows how to be productive with life challenges.)

I am thrilled to have music by Anna O (‘Sleepless’) and Marksman Lloyd (‘Silver Magic Ships’) featured on each podcast episode. Their respective EPs are two of my fave EPs to come out this year and it’s ridiculous that they both said yes to me using their tracks. They’re both from Perth, too, coincidentally (my hometown makes great music).

Episode 1 of Just A Spoonful is online and ready for listens! I’m still working out the whole iTunes thing but you can listen to the SoundCloud file via the Just A Spoonful site: justaspoonfulpodcast.tumblr.com

My guest for the first episode is filmmaker, TV producer and general sasspot Steph Dower. Steph is an intern at The Edge (State Library of Queensland), producer of Her Untold Story on 31 Digital, and works as a film editor. She lives with a permanent disability, and does not think Mark Wahlberg is funny. We talk movies, Michael Bay, and ‘living’ on the Disability Support Pension.

Here’s a photo of Steph at work (centre):

Borrowed from the Her Untold Story Facebook page: fb.com/heruntoldstory31

Her Untold Story: fb.com/heruntoldstory31

I’m pretty excited about this new project! I hope it will bring some entertainment to everyone, plus comfort to those living with chronic medical conditions and feeling like they’re “missing out” on youth. Take heart. We are young and fully sick.

Screen Shot 2014-09-24 at 11.29.37 PM

Not Safe For Work (AKA a writing career ha ha ha SATIRE)

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TWO WEEKS

A post shared by Kaitlyn Plyley (@kplyley) on

ONLY TWO WEEKS! Very excited to be heading back to the seaside town of Newie for this year’s National Young Writers Month (NYWF) (NSFW) (NYFW) (#rejectedNYWFevents).

Here are my picks for the events at which I will be fangirling the hardest and forcing panellists to be my friends:

My Favourite Is Problematic
Pop culture writers share how they coped with finding out their favourite celebs were a bit bigoted. Just so happens to be a panel made up of my favourites. Someone is playing an elaborate prank on me here, wherein I turn up to the event and Patrick Lenton and Elizabeth Flux and Rebecca Shaw and Michelle Law and Clementine Ford all pull off their faces and they were Clive Palmer the whole time! Now I don’t know what to think!
Saturday 4 October, 5pm
Gun Club, Newcastle NSW
http://www.youngwritersfestival.org/festival/favourite-problematic/

Invisible Illnesses
How does illness affect your work when nobody can tell you’re ill just by looking at you? Again, feeling a bit like the NYWF is tailoring their program just for me. (Which perhaps means that there is a panel on solipsism in there somewhere, which will only take place if I attend, thereby teaching me no lesson whatsoever.) Living with ME/CFS and working in an industry that already struggles to pay its writers, this is a topic I’m interested in hearing more about. And it features Express Media Creative Producer and spoonie champion Lefa Singleton Norton, so you know it’s good.
Friday 3 October, 11am
Royal Exchange, Newcastle NSW
http://www.youngwritersfestival.org/festival/invisible-illness/

Funny Ladies
I can’t go to this because I’ll be running a workshop but please PLEASE go for me and livetweet it and make friends with all the funny women and then introduce me to them later so I can be best friends too.
Saturday 4 October, 2pm
Gun Club, Newcastle NSW
http://www.youngwritersfestival.org/festival/funny-ladies/

… There are so many more events to gush about but that is just three that I think will be pretty great. I’ll also be doing some stuff there I guess if you wanted to know anyway here it is: http://www.youngwritersfestival.org/festival/artists/kaitlyn-plyley/

Oh, and if you want some pre-NYWF entertainment …
Read selected highlights of the Best Day Of My Life, or, the day I accidentally started a Twitter hashtag that went viral across Australia. NYWF co-director Alex Neill has put together a great list of some #rejectedNYWFevents tweets. It was a super fun afternoon. The best bit was when we accidentally suggested ridiculous events that were actual events. Haha. Whoops.

I’ll be here all week (and next)

Posts

Last night was the opening night of Not Much To Tell You at The Sue Benner Theatre, Metro Arts. It was a wonderful start to the season with a really great crowd and a good feeling in the room. I’m looking forward to doing it all again tonight, and then Friday, and then Saturday, and then Wednesday-to-Saturday next week! Tickets are still available from metroarts.com.au, or you can buy at the door tonight.

Here is a picture of my super hi-tech set:

I also had the pleasure of being interviewed by Sally Browne for yesterday’s Courier Mail:

‘Scuse me while I go laminate my copy. #sorrynotsorry

Not Much To Tell You is a part of the program for the most poetic weekend in Brisbane’s calendar – the Queensland Poetry Festival! QPF has its opening night tomorrow at the Judith Wright Centre, to usher in the greatest poetry festival in the southern hemisphere! LET’S HEAR IT FOR POETRY.

I’ll be giving my top picks for QPF on Metro Arts’ Instagram, so keep an eye out for that. Or you could just pick up a QPF program and throw a dart at literally any part of it, and I guarantee it will be good.

This makes me uncomfortable

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About a year and a half ago, I wrote a blog post called ‘Being comfortable is not the same as success‘. It came out of my ponderings on finding my niche after reading Sir Ken Robinson’s The Element and watching Bloc Party be awesome live. I wondered, do we have to be uncomfortable to succeed? Are we wrongly taught to seek comfort over personal growth? For example, we’re taught to prefer a career that will let us live comfortably in a nice house etc. over a career that might be personally rewarding but more difficult. Counter-culture tells us not to “sell out” and to go for the more difficult path. Is it right? Is there a virtue in discomfort?

Now I wonder if there are different kinds of “comfortable”. Like, say, there’s that feeling of being in the ‘flow state’, when you have found the thing you love and doing it connects you to the floor and the ceiling. Then there’s that feeling of curling up on the couch and watching your old favourite TV show – you know all the words, there are no surprises, and you relax into the safe familiarity. Are these different? I feel that one must be more productive than the other, but then I worry that my attachment of value to productivity is a product of my cultural conditioning to always be productive. Gah. It is hell inside my head right now.

I feel like there must be a bunch of philosophers who have already covered this topic; Plato wrote about different types of love, so surely someone must have written about different types of comfort. If there are any philosophy students out there who can point me towards some reading, I’d love to hear about it! Gimme some juice in the comments below.

In the past, I’ve let myself stay in relationships and circumstances that made me deeply uncomfortable because I had become so divorced from my feelings that I couldn’t use them as signposts anymore. Sometimes discomfort is a good sign that you should run far, far away. Otherwise, what are our instincts for? But learning to separate instinct from conditioned discomfort is difficult, at least for me. How can I tell whether I’m uncomfortable because this is a bad scene, or because I am stepping outside a culturally mandated ‘comfort zone’?

Talking about all this makes me uncomfortable, too. Yeesh, life is just uncomfortable. Thank goodness I have M*A*S*H and this deep sofa to help deal with it.

Take me to your money

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Being an artist in Australia feels a lot like that time I was a tourist in Pompeii: none of the fucking maps look alike. Seriously, there’s a road marked here on this one, but it’s not on any of the others. And I’m standing in a courtyard that eight out of the ten maps claim does not exist. Where the hell am I? How do I get back to the food court? (I swear I remember a food court in Pompeii. In Pompeii. Under the shadow of Mount Vesuvius, among one of the most remarkable archeological finds ever, I ate a dodgy parma.)

ABOVE: Pompeii postcard, made thanks to art

Pompeii postcard, made thanks to art

Aside from the fact that I rarely get heckled in Italian during tech rehearsal, the Pompeii metaphor stands up pretty well. I entered the creative industries the same way I entered that ancient Roman city: in awe, seeking culture and history and something bigger than myself. Then two street dogs started fighting near my leg and I got scared. But this is not a rant against life as an artist, or Pompeii (one of the coolest historical sites ever). This is more of a generalised puzzling. I’m that lost idiot wearing a bathers top as clothes because my campsite doesn’t include a laundromat, gesturing emphatically at my street map and saying “HELP? WHERE GO?”

Basically, in artist, all of this translates to: my project didn’t get funded.

Bummer.

OK, so, if you’ve seen my bio, you may know that I am one of the three Hack Residents at The Edge, State Library of Queensland. I started my residency in January and I have to say, The Edge is awesome. One of Brisbane’s better kept secrets. I actually resent telling people about my residency because then I’ll have to tell them about The Edge, and I want to keep all of its wonderful resources for MYSELF, ME, JUST MEEEE HAHAHAARR. Other Brisbane artists I’ve spoken to have expressed a similar annoyance that people are starting to know where that cave-like corridor between the Art Gallery and SLQ leads. It’s like Fight Club: it’s an open secret now. We used to just find each other by chanting “His name is Daniel Flood”* until someone else knew what you were talking about. (*That is a very specific Fight Club reference that only makes sense if you’re familiar with The Edge’s programming staff, so sorry to everyone except the three people who laughed at that.)

ABOVE: Yes, this is that concrete hallway you’ve been avoiding because you weren’t sure if you were allowed down there. YOU ARE. DON’T TELL ANYONE.

My residency project is a live event where people can interact with stories from marginalised communities. At the moment, I’m recording interviews with women who work in male-dominated industries – people who have ‘hacked’ (eh?) into workplaces where they would traditionally be excluded. It is fascinating work. I am a nerd for analysing work practices and gender studies and storytelling, so this is pretty great. But I have a problem: not enough funding.

The Edge is supporting my project with in-kind support, for which I am grateful and stoked. One of the wonderful things about the team there is their understanding that creative practice needs space and time for experimentation. The thing is, it also needs money. I was counting on additional streams of funding to make this project go. When two grant applications came back ‘negatory’, it was a blow. I’m not proud of how sad I got. Failing doesn’t come easy to me, as I’m sure it doesn’t to most. Plus, I had no idea what to do next. No map. Without funding, the project was stalled.

I am continuing anyway, because I love this project and I’m crazy-passionate about it, but I cannot afford all the hours of work, the resources, or the fees for additional artists without being paid for them. I will keep applying for further grants and funding avenues, but sometimes it seems like most of my life as an artist is spent writing applications rather than working on my art. And those applications need me to have already spent a lot of time figuring out the art part and getting really good at it and justifying why I should get the money to work on it further. I had hoped that this was just a symptom of me not managing my time properly, but from reading Justin Heazlewood‘s memoir/self-help book Funemployed: Life as an Artist in Australia, I gather that it’s not just me:

“Being an artist means running a business; a tiny one, sure, but as valid and high-maintenance as any other. Only when you are a few years into your practice does this dry reality begin to dawn. Like an extended practical joke, you look around from your desk to see if the cameras are rolling. All this time you’ve been a contestant on Admin Idol, duped into your own temping job by the faceless men at Officeworks.”
— From Funemployed (2014), p. 75. Seriously, buy it, read it, it’s good.

If I’m sounding a bit strident and self-justifying, it’s because I’m fighting against a lifelong conditioning that the arts are inessential. You don’t think about artists doing piles of admin for their art, because you don’t think of art as a job. Like, that sounds fun, but what do you really do?

This isn’t a hobby; this isn’t hanging out after work on the weekends. This is my career and I need to be paid at some point. It’s no coincidence that this period of reflection on my career path comes immediately after I filed my latest tax return. I’m barely treading water here. As a society, we can’t expect to benefit from everything that art brings to our culture and make artists pay for it all out of their own pockets. I was extremely gratified by Charlie Pickering getting shouty on The Project tonight, half-jokingly telling news outlets to stop covering art. Because, Pickering said, the news covers art and they talk about how much it will cost and then people get all “What’s the point of it” and – he yelled – “It’s ART! What’s the point of it? IT’S ART!” Cheering studio applause, echoed by my spraying of nachos at the TV: “Go Charlie!”

So, I’ve had my sulk, nailed my rejection letters to the wall and pulled myself up by my bootstraps. This project has hit a speed-bump but we’re still going to get there eventually. I don’t have a reliable map but I have the same things I had in Pompeii all those years ago: blind optimism and an unshakeable belief that I look awesome in this tankini swim top, no I don’t care that we’re standing in a museum, gimme another parma per favore.

Dawn of the patriarchy of the apes

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Yesterday I watched Dawn of the Planet of the Apes, sequel to Rise of the Planet of the Apes and presumed prequel to Day of the Dawn of the Consolidation of the Rise of the Planet of the Apes. I have some thoughts. If you are avoiding spoilers, please look away now.

Here be spoilers.

OK. So. HOW AWESOME WAS THAT?? Caesar totally rode a horse. He rode a horse and he totally told the humans off. He and the other apes built their own society. They taught each other sign language and spoken language and written language! Most humans don’t bother with all three. I loved the graphics (aside from one awkward establishing shot in a final battle scene where the apes look embarrassingly CGI, and my disbelief was entirely un-suspended). I particularly loved Caesar. What a babe. Hunkiest ape this side of the rise of the planet. And Caesar has a team of pretty cool, complex ape characters with which to interact. Overall, an impressive film.

I just, I have a little note. A small thing, really. You’ll probably laugh. But WHERE THE HELL were all the female characters? Female apes, female humans – missing! In the ape colony, we only meet one female ape – Caesar’s wife – who, I found out from the credits, was named Cornelia, although we are never given her name during the movie. In her brief on-screen time, Cornelia fulfills the female-movie-character trifecta of giving birth, providing motive for her man, and looking pretty while dying. Apparently she was played by Judy Greer. You wouldn’t know, since she doesn’t have any spoken lines and she mainly lays there looking ill. A waste of the vocal talent that brings us the unforgettable Cheryl Tunt on Archer. And yet I have read entertainment blogs actually heralding Greer as a “leading lady” in this film. Really? Silent, absent, and mostly uninvolved in the plot? But then, I guess this is what leading roles often look like for women.

There is one other female character in Dawn of the Rise of the Planet of the Apes: Dark of the Moon. She is a human woman, who – you guessed it – is the wife of the other leading man. The man who isn’t an ape. Good, so we’ve got one woman on each side of the human-ape war, and they each exist to show that the lead male has ‘something to fight for’. The human female (played by the way-underused Keri Russell – here you can see this leading lady describe her role in the film as “miniscule”) is named Ellie, and is listed on Wikipedia as a “former nurse” even though I had the impression she was a doctor, and she definitely performs surgery during the movie. During some staid exposition at the beginning of the film, we are casually informed that, before society crumbled, she worked at the Center for Disease Control. Sounds like Dr Disease-Expert Ellie would be pretty essential to establishing a new society in a post-Simian-Flu world. But instead we only see her administering hugs to Malcolm – the true leader – and asking him for permission to do things. (He denies her permission, by the way, because “I need you here” to care for his son from a previous marriage.) Why is Malcolm the preferential authority in the struggle to save humanity? Well, he’s an architect. And … tall? Have you heard how deep his voice is?

“Get behind me, Doctor, I have a degree in architecture.”

Yes, the gender imbalance in this movie greatly annoyed me. It is part of a larger problem with this film, where the human characters are not satisfactorily fleshed out (thus Malcolm’s role as leader of the humans is never adequately explained, while Caesar’s leadership status is easily established by his superior intellect, wisdom and physical strength). It annoyed me beyond all reason that the female apes were all wearing pretty, spangly, beaded headdresses that practically blinded them. I know this was probably intended as an aesthetic link to the 2001 reboot Planet of the Apes, but in that movie the male apes wore adornments as well. Giving only the female apes impractical jewelry just seemed to reinforce their status as decoration.

I don’t even know where the human females were. Apparently the human population had been thinned to near-extinction by the Simian Flu, while survivors of that were killed in post-apocalyptic wars. Surely, if we assume that men are usually responsible for wars and for fighting them (given all we know about history), there would be more women left than men. Even now, women represent a slight majority in the population. I’ve never understood why dystopian films have so much trouble imagining a landscape with women in it. Or why, with civilisation apparently dismantled and society being rebuilt, patriarchal structures have survived with ease. In the recent past, global wars have accidentally resulted in liberation for women, because with the dominant male class off killing each other, women have had to step into new roles. This is the kind of stuff that I find interesting about stories set in post-conflict societies: how new interpersonal dynamics emerge under unfamiliar circumstances.

We don’t get any such insights into the human world of Dawn of the Planet of the Apes, but the ape society has evolved beyond recognition. They have chopped down trees, built a permanent home, even set up literacy classes. However, they haven’t socially gone any further than “Get all the females and young to safety”. OK, in a battle situation, I could understand “Get all the mothers and their young to safety”. But all the females? I mean, the apes were off to fight humans, right? And as a human, I find female chimpanzees, gorillas and orangutans pants-wettingly terrifying. Any one of them could rip my arm out of my socket – I know it, they know it. Why weren’t there female apes in the battle? You could tell me that, in real-life chimp society, it is the males who fight the wars. You could tell me that ape society appears to follow a patriarchal hierarchy. This is all true. But this is a science-fiction film in which chimps are living alongside gorillas and orangutans, have domesticated the horse, and can talk. Even though chimps do not have a vocal tract. They also fire assault rifles. You telling me we can’t stretch the imagination to a female second-in-command for Caesar?

You could ask me why any of this matters, if it’s just a work of fiction. I’m tired of fielding that question. It matters. I’m over watching films where there are hardly any people who look like me, and all they do is hug the men and tell them they’re brave. There’s more to my life than that, and I’d like to see women in movies have more to their lives than that, too. Even the ape ones.