Women and Hollywood 
Feature – January 2021 Preview
December 31, 2021
By Tatiana McInnis and Shayna Maci Warner 

2020 has been an exercise of endurance, unspeakable loss, tragedy, anxiety, and rage, the scale of which cannot be addressed in any piece of writing. Many truths have been exposed this year, including that we are deeply invested in the stories we tell about our world — and other worlds! Many of us sought and found solace on screen, whether through binge-watching, virtual cinemas, or Zoom. While the challenging truths and issues laid bare in 2020 will not leave us when the clock strikes midnight on the 31st, we are hopeful about the stories we will tell, hear, and see in 2021. 

Premiering January 1, Roseanne Liang’s “Shadow in the Cloud” follows Chloë Grace Moretz as Captain Maude Garrett, a female flight captain navigating the challenges of WWII air warfare and the sexism of her crew.

Viewers can get an in-depth look at the life, loves, and career of beloved star Audrey Hepburn in Helena Coan’s “Audrey” (January 5). In a similar vein, they can learn more about an acclaimed artist and the eccentric collectors who will do anything to get ahold of his work with Oeke Hoogendijk’s “My Rembrandt” (January 6). Meanwhile, Yu Gu’s “A Woman’s Work: The NFL’s Cheerleader Problem” (January 26) chronicles two former NFL cheerleaders’ legal fight for fair pay.

The month rounds out with two family dramas, Fernanda Valadez’s “Identifying Features” and Gabriela Cowperthwaite’s “Our Friend,” both out January 22. The former sees a Mexican woman trying to find out what happened to her son, who crossed the border into the U.S. and hasn’t been heard from since. “Our Friend” is about a family rocked by their matriarch’s terminal cancer diagnosis, and the friend who offers to help them in their time of need.

Here are the women-centric, women-directed, and women-written films debuting in January. All descriptions are from press materials unless otherwise noted.

JANUARY 15

“Film About a Father Who” (Documentary) – Directed by Lynne Sachs (Available in Virtual Cinemas)

Over a period of 35 years between 1984 and 2019, filmmaker Lynne Sachs shot 8mm and 16mm film, videotape, and digital images of her father, Ira Sachs Sr., a bon vivant and pioneering businessman from Park City, Utah. “Film About a Father Who” is her attempt to understand the web that connects a child to her parent and a sister to her siblings. With a nod to the Cubist renderings of a face, Sachs’ cinematic exploration of her father offers simultaneous, sometimes contradictory, views of one seemingly unknowable man who is publicly the uninhibited center of the frame yet privately ensconced in secrets. In the process, Sachs allows herself and her audience inside to see beyond the surface of the skin, the projected reality. As the startling facts mount, Sachs as a daughter discovers more about her father than she had ever hoped to reveal.

2020 on Screen: The Best and Worst of Film and TV 
by CHRIS MCCOY
Memphis Flyer 
December 23, 2020
https://www.memphisflyer.com/memphis/2020-on-screen-the-best-and-worst-of-film-and-tv/Content?oid=24444547

There’s no denying that 2020 was an unprecedented year, so I’m doing something unprecedented: combining film and TV into one year-end list.

Best Documentary: Film About a Father Who

More than 35 years in the making, Lynne Sachs’ portrait of her mercurial father, legendary Memphis bon vivant Ira Sachs Sr., is as raw and confessional as its subject is inscrutable. Rarely has a filmmaker opened such a deep vein and let the truth bleed out.

EXCLUSIVE TRAILER FOR LYNNE SACHS’ Film About A Father Who TAKES A PERSONAL LOOK AT FAMILIAL MYSTERIES
Jordan Raup
December 23, 2020
The Film Stage 
https://thefilmstage.com/exclusive-trailer-for-lynne-sachs-film-about-a-father-who-takes-a-personal-look-at-familial-mysteries/

From The Father to Dick Johnson Is Dead to Falling to Minari, 2020 has been an exemplary year for films exploring all facets of fatherhood. Premiering at Slamdance Film Festival earlier this year and now arriving in Virtual Cinemas next month, another poignant entry in this category is Lynne Sachs’ documentary Film About a Father Who. Featuring materials shot over a period of 35 years between 1984 and 2019 by Sachs herself, the film explores her father Ira Sachs Sr., a bon vivant and pioneering businessman from Park City, Utah, which leads to many unexpected discoveries. Set for a nationwide Virtual Cinema release beginning on January 15, Museum of Moving Image will also hold a a director retrospective that features five programs in their Virtual Cinema, from January 13-31.

Jared Mobarak said in his Slamdance Film Festival review earlier this year, “While director Lynne Sachs admits her latest documentary Film About a Father Who could be superficially construed as a portrait (the title alludes to and the content revolves around her father Ira), she labels it a reckoning instead. With thirty-five years of footage shot across varied formats and devices to cull through and piece together, the result becomes less about providing a clear picture of who this man is and more about understanding the cost of his actions. Whether it began that way or not, however, it surely didn’t take long to realize how deep a drop the rabbit hole of his life would prove. Sachs jumped in to discover truths surrounding her childhood only to fall through numerous false bottoms that revealed truths she couldn’t even imagine.”

See the exclusive trailer below.

Film About A Father Who opens on January 15 virtually nationwide alongside a director retrospective in Museum of Moving Image’s Virtual Cinema.

The Seventh Art
2020 Roundup #6
December 17,  2020
https://theseventhart.info/tag/film-about-a-father-who/

Film About a Father Who (Lynne Sachs)

At first glance, Lynne Sachs’ latest documentary comes across as another iteration on the now all-too-common work of ‘personal archaeology’ in which filmmakers trace their roots through public and private archives, at times rending open the specific ways their unhappy families have been dysfunctional. Sachs, for one, employs home movies shot over half a century in half a dozen formats—8mm, 16mm, VHS, Hi8, Mini DV and digital—by herself, her father and her siblings, filmmakers Dana and Ira Sachs. The material turns around their father, Ira Sachs Sr., a ‘hippie businessman’ who sowed his wild oats across the world and virtually birthed a baseball team. Senior’s constant womanizing comes down heavily upon his children, some of whom have known the existence of the others only after decades, but also upon his mother, with whom he nevertheless shares a close but complicated relationship. Sachs weaves through years’ worth of footage and layers it carefully into a simple, direct account with a voiceover addressed at the audience. She takes what could’ve been a narrow family melodrama into much stickier territory. As she says, the film isn’t a portrait of her father, but a meditation on relationships with this man as the connecting element. Sachs and her siblings sit with their father, now infirm with age, and ask him to recollect episodes from the past. What do they expect? Confession? Reckoning? Simple testimony wrought from a gradually vanishing consciousness? Sachs goes beyond all gut responses to her father’s behaviour—disappointment, rage, disgust—towards a complex human reality that can elicit only inchoate sentiments, as suggested by the film’s incomplete title. She isn’t filming people or their stories, but the spaces between people, and how these spaces are always mediated by the actions of others. Senior’s wayward life, itself rooted perhaps in a traumatic childhood, profoundly shapes the way his children look at each other. Two living room discussions are intercut as though they are unfolding in the same space, the only way the filmmaker is able to bridge these invisible branches of the family tree. Sachs’ film is ostensibly a massive unburdening project for her; that she has been able to draw out its broader implications is a significant accomplishment.

Just Another Film Buff