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Vodka Because Murder Is Wrong Shirt, hoodie, tank top
Fanning, Lucas Jade Zumann, Billy CrudupGenre: Comedy, DramaRotten Tomatoes Score: 89%Rating: RRuntime: 118 minutes
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The feeling of watching writer-director Mike Mills’ 20th Century Women is akin to that of witnessing a mind working through the twisted byways of his characters’ psyches and his themes as if digesting his thoughts right in front of us. He’s unafraid of breaking away from the film’s major arcs for the sake of digressions that fill us in on both historical context and characters’ backstories. That embrace of irresolution extends to the characters themselves, all of whom show many different sides to us, with Mills showing no interest in neatly explaining away their contradictions. 20th Century Women almost feels like a dialectical essay disguised as a comedy-drama—a late-period Jean-Luc Godard movie except with actual flesh-and-blood human beings instead of glorified mouthpieces for his philosophical aphorisms. The patchwork narrative style vividly expresses the confusion at the heart of these characters and of the time period in U.S. History it evokes: a country hinging on the precipice between the relative selfless idealism of the 1970s and the rampant materialistic self-interest of the 1980s. It’s a large subject for any movie to tackle, but the beauty of 20th Century Women is that the warmly empathetic Mills never loses track of the characters’ anguished beating hearts. —Kenji Fujishima
Year: 1986Director: Spike LeeStars: Tracy Camila Johns, Spike Lee, John Canada Terrell, Tommy Redmond HicksGenre: Comedy, RomanceRotten Tomatoes Score: 91%Rating: RRuntime: 85 minutes
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An explosively frank feature debut that immediately announced Lee’s brave, fresh new voice in American cinema, She’s Gotta Have It, shot like a documentary, is a levelheaded exploration of a young black woman named Nola (Tracy Camilla Johns) trying to decide between her three male lovers, while also flirting with her apparent bisexuality, in order to, first and foremost, figure out what makes her happy. What’s refreshing about the film is that Lee always brings up the possibility that “none of the above” is a perfectly viable answer for both Nola and for single women—a game changer in 1986. The DIY indie grainy black-and-white cinematography boosts the film’s in-your-face realism. —Oktay Ege Kozak
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