Katherine Bigelow is one of the greatest female filmmakers in history, addressing social issues, racial issues, politics and war. Before producing an action filmmaker in the action genre, he produced two cult neo-noir films in the 1980s, but later changed his artistic path. In the last two decades, he has made several significant and important films that deal with topics such as racism and terrorism. In 2008, Bigelow became the first woman in history to win the Academy Award for Best Director. from the first short film he made in 1978 to the present day, his work includes distinctive signatures, including logic-based violence, gray characters, and a hand-held camera.
- All of Jane Campion's worst films To the best; "The Power of the Dog" is the second
- 10 female film directors and the most significant films each
- Top 50 films of female directors in the last 10 years
Bigelow has a high suspense, human elms are seen in them and he tries to accompany his artistic look with a message. Over the past forty years, he has made impressive black films that also have the power to entertain the audience and are technically innovative. With his recent productions, Bigelow has established himself among critics and serious fans of cinema and is now one of the giants of contemporary filmmaking whose work can be a classroom for young directors.
10. Strange Days Days)
- Release year: 1995
- Cast: Ralph Fiennes, Angela Bast, Juliet Lewis, Tom Sizemore, Vincent Dan Afrio, Michael Wincat
- IMDb users rating for the movie: 7.1 out of 10
- Raton Tomitoz Score: 65 out of 100
The story of this noir-cyberpunk film was co-authored by Katherine Bigelow His ex-wife, James Cameron, wrote, and it takes place in a parallel world, in the city of Los Angeles. In this different world, which is more advanced in terms of technology, an illegal device (called "Squid") has been invented that if someone uses it, his memories and feelings will be recorded; As a result, other people can see the world through the eyes of the same person and have access to his or her memories. Lenny Nero is a former police officer who now buys and sells Squid's recorded files on the black market. These files contain various things, including murders and violent acts committed by people. After the murder of one of his friends, Lenny decides to find the cause of it. Ralph Fiennes attempts to speak in an American accent. The story of the film is sometimes reminiscent of the writings of Philip K. Dick, but in comparison with his deep, complex and philosophical works he has nothing to say. The film is confusing for no reason, it does not have the right rhythm, sometimes it goes too far and it could have been shorter. Maybe Bigelow would have done a better job if he had directed the film in another era. He also wanted his film to have a message and focus on racial discrimination, but the fact is that the message is just an excuse to advance the story, it does not pay, and we can even find them offensive.
There are a few extra unusual sequences that, if removed, would not change the essence of the story. Of course, strange days also have positive points, for example, in terms of atmosphere and design, it is reminiscent of "Blade Runner" or the design of clothes is done with special elegance. Angela Bast and Juliet Lewis have shown an acceptable play. However, Bigelow has wasted the potential of the story and the world he has created, and it is not without reason that the film failed at the box office. Watching the work can be annoying for some audiences, and unfortunately it is more likely to disappoint you than to be affected by its messages. Bigelow made a mistake in making this film, and sometimes in Hollywood one mistake is enough to make you have no chance to return, but Bilgo was lucky to be able to make a film again.
19: The Widowmaker)
- Cast: Harrison Ford, Liam Neeson, Chris Holden-Reid, Inquard Eckert Sigworthon
- Score IMDb users to movie: 6.7 out of 10
- Raton Tomitoz rating to movie: 60 out of 100
per year 1961 - Conflict between the United States and the Soviet Union escalates, and the Soviet Union activates its first nuclear submarine. The K-19, led by Captain Alexei Vastrikov, embarks on a journey to test its nuclear ballistic missiles, but encounters technical problems. Now The submarine could explode at any moment, leaving all of its crew at risk of death. (Which was astronomical for 2002) sold for $ 65 million. It goes without saying that K-19 is also one of the most expensive independent films in history. The first problem of the film may be that it suffers from a lack of Russian actors and American actors have not been able to present the Russian accent properly, you can easily see that the actors' accent is fake and therefore you do not have much contact with the characters. In addition, the actors have no understanding of Russian culture and behavior, and the characters are completely Westernized, which is embarrassing. Bigelow should be blamed for not doing enough research and choosing the right actors (thankfully Bigelow did not repeat those mistakes in later projects). Most of the time it is not clear what the film wants to say or what the characters' motivations are, so the audience is confused here as well. The characters are superficial and the viewer has no sense of them and is not worried about them. Leaving aside the script's weaknesses, K-19 does not have the main element of Catherine Bigelow's later work: Suspension, something a political-thriller film desperately needs. The film's events never reach their climax, and after two hours of watching the story, most audiences may not feel satisfied because their expectations have not been met. But it is a typical film that does not deviate from the usual formulas for a moment, its elements are not balanced with each other and they wave meaninglessly in it, especially if we want to compare the film with a landmark work such as "Ship". For a filmmaker with a defensible artistic record, K-19: Videomaker should be considered as another weird day.
8- The Weight of Water
- Release year: 2000
- Cast : Elizabeth Harley, Katherine McCormack, McShane Penn, Sarah Poly
- IMDb users rating for movie: 5.8 out of 10
- Raton Tomitoz movie rating: 35 out of 100
The movie includes two different timelines. At present, we are accompanied by two couples who have traveled to a small island in the Northeastern United States. Adeline, the wife of Thomas, is a news photographer who covers the bloody events that took place on the island in 1873. That year, two Norwegian couples, "Mern and John" and "Karen and Annette", migrate to the area. Some time later, Karen and Annette are killed, but Mern escapes. A man named Louis Wegner is convicted of these murders and executed. The two timelines gradually reflect each other, and their events merge. . Maybe it would have been better if Katherine Bigelow had only dealt with the first timeline, in which case we would have had a better cinematic effect. In the old parts, there are unexpected story twists, the characters' relationships are more complex, and we have a better atmosphere. The filming of Adrienne Biddle, who created black-and-white scenes inspired by German Expressionism, should not be overlooked. Bigelow directs these episodes with special obsession and paves the way for the climax of the story. Still, parts of the present still seem superfluous and clichd. , Is one of the few positive points of the film in the present parts. The same cannot be said of Elizabeth Harley, the news photographer of the story, because her character has no effect on the audience. With the decisions made by the filmmaker and two writers (Alice Arlene and Christopher Kyle), Adeline's character is only there to advance the story, and for some unknown reason, her appeals are maneuvered.
The weight of water has a lot of turmoil and its enigmatic story does not fit alongside the best of the genre, but overall the film is impressive and provides a good narrative of the history of a small area. The film also deals with "how powerful words are" and how they can distort reality; Our legal system and our moral mind are both sometimes deceived and may see lies as truth. Another positive point is the jealousy of the female characters in the film (which we usually see in male characters). Water Weight may not be Katherine Bigelow's best film, but it is entertaining.
7. Point Break
- Year of publication: 1991
- Actors: Patrick Sweezy, Keanu Reeves, Gary Beauce, Laurie Petty
- IMDb users rating for movie: 7.2 out of 10 li>
- Raton Tomitoz's score for the film: 70 out of 100
Keanu Reeves plays Johnny Utah, a young AFBI agent with an identity The fake enters a criminal gang that masks the heads of US presidents and steals from banks. The action film was originally supposed to be made by Ridley Scott and starring Johnny Depp, but the directorial chair went to Katherine Bigelow, who created one of the most successful commercial films of her career to be covered by the mainstream media.
Action breakthroughs were a breakthrough ahead of their time and inspired contemporary action filmmakers. Bigelow has used a handheld camera to increase suspense and chaos caused by theft and chase; He later developed this style of filming in "Mahlakeh". The symbolic sequence of "shooting a gun in the air" has a special place in popular culture and was later parodied in the film "Hot Phase" by Edgar Wright. And of course, the parachuting part of the film, three decades later, is still one of the most ambitious and exciting cinematic action sequences.
Keanu Reeves is not a very good film; He does not play the role of Johnny skillfully, his character seems superficial and sometimes troubles the film, but the supporting actors such as "Gary Beauce" and "John Christopher McGinley" have saved the film. The late Patrick Sweezy in the role of "Buddy" dazzles the eyes and his presence in each of the scenes is impressive. At the heart of the complex character created by Sweezy is poetic, we understand the kind of windy mystical view of surfing. He is memorable, a mythical character with philosophical motives.
The breaking point of a good action film is that, unlike other Bigelow compositions, it has no depth or meaning. The story he tells is a story of Hollywood clichs, a similar example of which we have seen many times, and very soon we can predict where it will end. Tyler's character is important in the script, but in practice it is superficial and does not convince us why it matters at all. The point of failure, however, is to look at what it is: an action-packed blockbuster that meets your expectations of the genre. Have a movie that you can watch on the weekends with family or friends, and this is what Katherine Bigelow had in mind when making the film.
6. The Loveless
- year of publication: 1981
- Cast: Willem Dafoe, Robert Gordon, J.D. Ferguson, Marine Counter, Ken Call
- IMDb users rating for the movie: 6.1 out of 10
- Raton Tomitoz's rating for the film: 73 out of 100
"Bridge between the world of art and mainstream filmmaking" ( Bigelow in the film's description. In his second acting experience (and first time in the lead role), Willem Dafoe plays Vance, the leader of a criminal motorcycle gang. They work in a small town and Vance has an affair with a girl. The group gradually gets into trouble with the city's religious residents, who are led by the girl's father. Loveless is a relaxed movie, and most of its minutes are spent on the fun of motorcyclists, repairing motorcycles and meaningless margins. Along with Jim Jarmusch, he was unloved by works born from the heart of the American Independent Film Movement in the 1980s; Independent American cinema flourished a decade later and became popular with the general public. Offers; The filmmaker is not interested in classic narratives and tells the story as he pleases. Doyle Smith's filming is a different visual experience, he presents many close-ups of jokes, neon signs and various objects and pays homage to "Kent Unger" (one of the filmmakers who greatly influenced Bigelow). A lasting moment in the film is where a motorcyclist fires a match to light a match. With these kinds of moments, the film wants to give more clarity to the sense of revolt and rebellion that exists in the youth. Using the music of Brenda Lee and Diamonds, dialogues from the Beatles and Meissen generations, Bigelow presents a fictional, ideal postmodern world from the 1950s in which ordinary people spend their days dreaming. p>
In terms of content, Bishq deals with the cultural war of the young and old generation in the middle of the twentieth century, focusing on absurdism and lawlessness. Unexpectedly, "guilt" also plays a key role in the story. At the beginning of his artistic career, William Defoe plays as a star who has many years of acting experience. Defoe and Bigelow are never together after this movie They did not cooperate, but there is no doubt that lovelessness brought Defoe closer to the path to success. The story is not attractive and is easily forgotten. Catherine Bigelow even seems to have forced these subplots to find an opportunity to combine the signatures of "B-Class" films with the nostalgia of the 1950s. In any case, this is a film that he dreamed of making and had enough freedom. Loveless is generally a work that is recommended for young filmmakers and writers because it shows that you can create any work you want, and there are no rules for relying on traditional Hollywood narratives or formulas. Lovelessness should be seen as a poem that cares more about space and style than storytelling. Bigelow reminds us of what can be done in the medium of cinema and what innovative perceptions of events it has. The film is satisfying for its visual spaces and charms, and do not forget that it introduced Bigelow as a new talent, a talent that flourished in the following decades like independent cinema.
5. Blue Steel )
- year of publication: 1990
- IMDb users rating: 5.7 out of 10
- Raton Tomitoz To the movie: 72 out of 100
What happens if a police officer inadvertently falls in love with a killer? This is the general idea of Katherine Bigelow's third production, which will probably remind you of the psychological trailers of "Patricia Highsmith". The great critic Roger Ebert described the late film as "a more cultured version of Halloween." Megan is a New York police officer who kills a robber in a supermarket. The thief's gun falls to the ground and Eugene Hunt, who was in the same supermarket, picks it up and runs away. Megan is accused of killing an unarmed man because police did not find the weapon at the crime scene. In the process of the investigation, he meets Eugene and falls in love with him. Eugene, however, is a psychic killer who kills different people with the same weapon he hid. Blue Steel has a faster rhythm than Bigelow's previous productions, and the cast is satisfying. The events are suspenseful, the dialogues are well written, and the filmmaker's tendency toward the action genre is palpable. They offer in the late 80s and early 90s. Bigelow also pays attention to the design of the sounds, like Megan's rapid breathing in the face of Eugene, which puts stress on the viewer. The efficient use of sounds, hand-held cameras and close-ups reminiscent of Sergio Leone's work has made the film a first-rate thriller. Blue Steel may not be Bigelow's best work, but it deserves to be on the list of the best crime films of the 90s. Compared to the previous two films, Katherine Bigelow pays more attention to the story and is aware of the place of suspense in this genre. The sequence of his slow-motion armed conflict can be traced back to the breathtaking Hong Wong films of John Woo. " Is. Many trailer films want to portray the negative character of the story as naughty, thirsty for violence, or insane, and we even have works that seem to praise such a character or even legitimize his actions. In contrast, Blue Steel describes in detail the evolution of an ordinary person into a murderer, these changes are realistic and fit into the framework of logic. When Eugene finds the gun, it is a metaphor for a man who has suddenly lost his innocence. He is tempted to commit these murders, just as Adam and Eve were tempted. Although Ron Silver's perception of Eugene ends in madness, he also has other human qualities: he is romantic, poetic, and can be extremely kind.
This balanced approach to Eugene, the father of Diocese There is also Megan, who usually treats the girl's mother badly. But even in one part of the story, he shows his vulnerability, a different part of his character that we did not think existed. Thanks to Bigelow's humane and honest screenplay, he tells us that people are not necessarily good or bad, but that we all have a combination of both. Even the worst human beings can sometimes show kindness. Will they be saved? If we understand them and gain a proper understanding of their personality dimensions, is forgiveness or forgiveness possible? Blue steel indicates that life is gray, not black White.
- Release Year: 2017
- Cast: John Boyega, Will Poulter, Algi Smith, Hannah Murray, John Krasinski, Anthony Mackey
- IMDb users rating for movie: 7.3 out of 10
- Raton Tomitoz rating for movie: 82 out of 100
Catherine Bigelow's latest film to date is Detroit, a crime-historical film about the 1967 Detroit Uprising. Based on real events, the film depicts the racial tensions and conflicts of African-American society with the city's police force. The story tells a dramatic version of the Al Jazeera Motel incident that took place on the night of July 25, during which three civilians were killed and nine others were wounded by Detroit riot police. According to the police on the scene, they were killed when they reached the motel and killed two others to defend themselves. The allegations went unanswered, and all three police officers were eventually acquitted.
Detroit is Bigelow's most important film, offering a courageous account of police violence and its treatment of African-American citizens. As one of the characters puts it, "When you are black, it is as if a gun were aimed at your face," and the Al Jazeera Motel sequence is just one example of what police forces have done to blacks in recent decades. These injustices and violence continue, and not only blacks but all other races have experienced them in different ways. The message of the film is clear, where "Philip Cross" (a fictional character based on the real police officer "David Sank") puts his knife next to his body after killing an unarmed man. Detroit arouses your emotions to make important statements about humanity, something that's apparently not properly trained by the American police force, and the weakness of the judiciary has made matters worse for the injured and the survivors. "I hope the legacy of those killed at the Al Jazeera Motel is not forgotten," Bigelow said of the film. " We show that he sympathizes with these African-American citizens, but he must do his duty as a guardian. With the camera in his hand, Bigelow has created the maximum suspension with the right angles and with the help of the actors. A handheld camera is usually an easy way for filmmakers to increase suspensions, but for a film that wants to recreate a real event, this approach seems necessary, and Katherine Bigelow does not misuse this type of filming to make the audience feel emotional. You feel like you are watching a pseudo-documentary, and the use of real images of riots in the news sections has increased the realism of the film. Although attractive on paper, in practice it makes the film sometimes annoying. Detroit is too long, and it seems that if it got a little shorter, it would have retained its impact. The film failed at the box office (perhaps due to the lack of interest of ordinary cinema audiences in such an important subject) but will remain for its historical significance and is a film that can play an effective role in educating future generations so that history may not be repeated and better people entered society. . With Detroit, Bigelow boasts a high capacity for entertainment while delivering socio-political messages.
3- Near Dark
- Year of publication: 1987
- Actors: Adrian Keyvan Pasdar, Jenny Wright, Lance Henriksen, Bill Paxton, Janet Goldstein
- IMDb users rating for the movie: 6.9 out of 10
- Raton Tomitoz's score for the film: 82 out of 100
For her second work, Katherine Bigelow, her favorite genres: Horror, Romance, Neo-Western and Neo- Combined noir to create a modern version of "Bonnie and Clyde". Near darkness begins with a close-up of a mosquito sucking human blood. One night, Caleb, a farmer boy, meets a magical girl named May, and they quickly fall in love. When May bites the boy's neck, the club turns into a vampire and then joins the vampire family. Caleb can't adjust to this new lifestyle, and although he falls in love with May, he longs to return home and his family. There is a lot of love in it. If you are a fan of the horror genre, be sure to watch it and you should know that you are facing one of the best vampire movies in history. Unlike Bigelow's first film, Darkness is Nearly Concentrated, has a fast rhythm and a good script. Enjoys good action sequences. The film shows the filmmaker's artistic maturity, and behind the action style owed specifically to "Sam Pekinpa" and the punk-rock music you hear, there is an innocent love affair that seems sincere. The film has a number of distinctive features: such as the moment when the club's white horse rises to its feet after seeing May and feels his vampire (a good example of Bigelow's creativity and attention to detail), the correct use of music, the lighting that reminds The noir films are "Robert Mitcham" and the good makeups are "David Simon" and "Gordon G. Smith.
But what makes the film so admirable is that it presents its vampires as human rather than myths. Realistically, the film shows how painful it is to become a monster for the club, how much he blames himself for killing other people to survive, and how his father finds himself for his lost child. Ordinary human beings also have the feeling that the main character of the story has about murder. For this reason, Near Darkness is an important film in terms of content, and it mentions the psychological consequences of murder, especially for someone who is not mentally ill and has no interest in killing. Katherine Bigelow has avoided presenting unreasonable violence and uses it as much as she needs to. The characters are motivated to commit a violent act, something like the horror films of Alfred Hitchcock. In other words, unlike most of the horror works of the 1980s, violence is not a priority and its existence is directly related to the theme and characters. Its effects on other filmmakers should not be overlooked. Rob Zombie was inspired by the Firefly trilogy, and Quentin Tarantino talked about the film's influence on his directing style (believing that the cinema of the 1980s had revived the near darkness). . Perhaps our only criticism is that the characters are not well paid, but apart from that, the film is satisfying in all respects. Near Darkness revolutionized the vampire genre, evoking the flexibility of modern horror cinema. The film was critically acclaimed, and without it, perhaps Catherine Bigelow could never have made the more expensive and larger films. -align: center; ">
- Release year: 2012
- Cast: Jessica Chastain, Jason Clark, Joel Egerton, Sean Mahan, Edgar Ramirez
- IMDb users rating: 7.4 out of 10 from Chastain's
serious and unique acting, the film also has an extraordinary cast,
including the late Jason Clark, Kyle Chandler, Jennifer Ellie,
Chris Pert, and the late James Gandolfini. The film was a
commercial success and critically acclaimed, but its narrative
details were criticized by the Republican Party of the United
States as saying that the creators had access to confidential
information. The film was released just one year after the
assassination of Osama bin Laden, at the best possible time.
Unlike most movie heroes, Maya has characteristics that can be blamed on her, for example, brutal torture. The CIA has no problem receiving information and even participates in it; These sections, which are reminiscent of the real events of the torture and persecution of Abu Ghraib prisoners, may be painful, but the facts should not be overlooked, and these inhumane methods have been used many times. In this sense, the film is close to blue steel because it offers a balanced view of human nature, that good people also have black spots. Along with the narrative of the search for one of the greatest assassins in history, the film also raises an important question: Who is a terrorist and what is not? We define terrorists as members of gangs that attach bombs to themselves and kill innocent people, but what about US violence in different parts of the world? Aren't they another kind of terrorist? In any case, the crimes committed by American soldiers in Abu Ghraib are consuming the soul of every human being. These questions make the film a thought-provoking experience.
As usual, the camera on Bigelow's hand brings the spaces closer to the documentary and inflames the rhythm of the work. Far from the usual rules of the action genre, the filmmaker uses violence in a meaningful way here as well, showing its effects on the victims as well. Given that we are dealing with a work based on reality, the film is sometimes unpredictable and distances itself from the usual structures of storytelling so that the action parts are shocking and realistic. Thirty minutes after midnight, it also has one of the highest cinematic climaxes in history, where soldiers begin a mission to assassinate Osama bin Laden. These are the ultimate stressful moments for you Will pass and you have a strange and indescribable feeling. We criticized Katherine Bigelow for inadequate research in K-19, but here she shows a new level of precision and detail; Everything is close to reality, from the technologies used by soldiers to the way special forces speak.
1. The Hurt Locker
- Release year: 2008
- Actors : Jeremy Renner, Anthony Mackey, Brian Gratty, Christian Camargo, Ralph Fiennes
- IMDb users rating for movie: 7.5 out of 10
A film that deserved six Academy Awards, including Best Director and Best Picture of the Year. Bigelow's undisputed masterpiece tells the story of a soldier named "William James" who, along with his team, is tasked with defusing bombs during the Iraq war. Mark Bull wrote the screenplay based on his past experiences, during which time he worked as a reporter with a bomb disposal team. Mahlaka is one of the best historical war films ever made in Jordan, just a few kilometers from the Iraqi border, at a time when the war was still going on. The Iraqi refugees were used as the black of the army in the film to tragically reflect the reality. The film is nail-biting and makes your heart beat much faster. Like a terrifying horror movie, Mahlak has a scary atmosphere in which everyone is suspicious and no one should be trusted. Thirty minutes after midnight, the usual structures of classic action are abandoned, and the genre, which usually has no purpose other than entertaining the audience, finds new meaning in combination with history and human concepts. Unlike other war films, Destruction is like a theatrical play, you are close to the events and you see the destructive violence of the war more clearly. The film, of course, has all the expected features of a war work, but its conception is close to that of art cinema; Katherine Bigelow produced the film on an independent budget to give her complete freedom and make the work she wanted without the interference of the studios. The film is a breathtaking visual experience. Bigelow says he wanted the movie to happen "right in front of your eyes." "To do that, you have to put the audience in the body of the characters." Like Detroit, the camera on the hand makes you see yourself at the heart of the events. The use of close-ups has also helped to highlight the vulnerabilities of the characters. Mahlake does not use stereotypical elements to advance the narrative, the story proceeds naturally to convey a real feeling to the viewer. The dialogues are also written in a natural way, they are not superfluous at all, and they contribute to the story. American and Iraqi characters are both presented with compassion; The filmmaker, like a real journalist, does not orient and does not consider anyone superior. The fear and anger of Iraqis opens the eyes of the audience to the US war in the Middle East. Like the sequence in which William raids the house of an Iraqi peace professor. William interrogates him and points his gun at the professor, who is polite and wants to be hospitable. These scenes show the oppression of ordinary Iraqis whom the US military has treated as an enemy all these years. The three soldiers of the neutralization group have a bomb in their mental state. The filmmaker examines the psychological scrutiny of these people who are at risk of addiction and how ordinary human beings can become ruthless killers. Of course, Bigelow's view of the soldiers is not negative, he also deals with the soldiers who are trying to restore peace in Iraq. These soldiers, however, never end their work with war, after returning to their homeland and normal life, they have to deal with the consequences of their decisions for years (and sometimes even for the rest of their lives) and manage the severe psychological pressures they endured.
If you have any doubts about Katherine Bigelow's filmmaking power, your doubts will probably go away after watching the movie. He has made a flawless film that you can watch as a suspenseful action-trailer or an anti-war art drama film, in both cases.
Source: Taste of Cinema