Closeted lesbian grows up in oppressive religious household, denounces her faith and escapes to the bright lights of the city: we’ve all seen that movie. To Each, Her Own (Myriam Aziza, 2018) ー terrible title, by the way, but we’ll get to that ー focuses on the crises that come after.
Simone, comes from an Orthodox Jewish family and lives with her “room-mate and best friend” (family code for lesbian lover) Claire. Just as she finally thinks she’s ready to come out to her family, she falls for Sengalese chef Wali (a man). A novel and intriguing concept, of course, but where could it possibly lead? Well, as it turns out, both absolutely everywhere and resoundingly nowhere. Let’s get into this hot-mess-express of a shitshow movie, shall we? […]
Coming into this, I think I was promised something like But I’m a Cheerleader: The Musical, in Spanish. What I got was, if you can believe this, so much more and so much wilder than that. My thoughts throughout were, to quote lovely fifth alternate Alyssa Edwards, ‘what the fuck is going on in here on this day?’ Avoiding any major spoilers, I will try to explain ー though I’m not sure to what extent that will be possible.
It’s amazing how a film can be so rooted in the present when it’s really about history. Personal history, romantic history, cultural and religious history all permeate the thematic presentation; and yet, the film’s almost hyper-realistic style plants it so firmly in its present that you can’t help but feel that you’re there. Let me explain. Disobedience (Sebastián Lelio, 2018) tells the story of Ronit, a woman who, upon learning of the death of her father, returns to the Orthodox Jewish community where she grew up. Having fled the community in North London for New York as a teenager, she is now confronted with what she left behind: principally, her childhood friends Dovid and Esti. We witness the trio’s internal struggle as they try to grapple with their conflicting cultural views and complicated history. And boy is it vivid. […]