Film Review: Her Composition

Her Composition is a feminist film that was made on the cusp of an ideological revolution. Though it was just released on V.O.D. in 2018, it was made in 2015. Back then, time wasn’t yet up. Films about the emotional Odysseys of women were all told by white men and didn’t pass the Bechdel test. That’s not to say Stephan Littger’s debut is a bad film. It’s actually quite lovely and ambitious. But it also feels a bit like a feminist time capsule.

Captivating up-and-coming actress Joslyn Jensen plays Malorie, a music PhD student who loses her scholarship to a man because her thesis piece doesn’t come from the heart. Desperate for money and inspiration, Malorie takes on the dossier of a high-end sex worker. She doesn’t seem to have a plan at the outset. She just knows she needs to shake things up. But she discovers self-assurance during her first encounter and soon, she’s got a “crazy wall” covered in quotes, snippets of written music, and meaningful insect corpses. There is no shortage of men saying and doing awful things to Malorie, but she also meets a few kind and lonely people. As she goes deeper into her titular composition, she begins to mentally and physically unravel. Before long, Malorie is racing her declining health to the finish line…

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Film Review: Driftwood

driftwood
Paul Taylor hates exposition so much; he created a film that has none whatsoever. Without dialogue, people can’t say unnatural things like, “You’re my brother,” and “you know how we robbed that bank together?” Instead, Taylor drops the audience right into a world that looks a lot like ours, but, as we soon come to realize, it has some fundamental differences. Mainly, this is a world in which young adults wash up on the beach like so much Driftwood. These beach people come partially dressed but entirely devoid of worldly knowledge. The first one we meet is a Young Woman (Joslyn Jensen). We never learn her name or if she even has one. Nor do we learn the name of the Old Man (Paul C. Kelly) who gathers her up and takes her to his home. It’s never clear where she’s from or why she needs someone to teach her how to eat, groom, and use the toilet. What she doesn’t need, however, is the patriarchal form his help takes, nor the increasingly iron fist with which he rules…

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