Mulheres do Século 20

"20th Century Women" (2016 release; 118 min.) brings the story of Dorothea, a divorced woman in her mid-50s, and her 15 yr. old son Jamie. As the movie opens, we are reminded it is "Santa Barbara, 1979", and Dorothea's car is engulfed in flames while she and Jamie were grocery shopping. When they finally get home, we also get to know Abbie, a 24 yr. old orange-haired photographer, and William, a Mr. fix-it-all, who both are renting rooms at Dorothea's house. Then there is Julie, the 17 yr. old who hangs out at the house for no apparent reason. When Dorothea feels she cannot handle the unruly(?) Jamie by herself, she enlists the help of Abbie and Julie. At this point we're 15 min. into the movie, but to tell you more of the plot would spoil your viewing experience, you'll just have to see for yourself how it all plays out.

Couple of comments: this is the long-awaited new movie from writer-director Mike Mills, who last surprised us with the outstanding "Beginners" (now already 6+ years ago). Here he brings a character study of a group of 5 people in the late 70s. This movie immediately connected with me, as I saw pieces of myself in "young" people: Abbie (Born 1955), Julie (born 1962) and Jamie (born 1964). I was born in 1960. The movie features an all-star ensemble cast, with an almost unrecognizable Great Gerwig as Abbie (and on the heels of another outstanding role in the recent "Jackie"), Elle Fanning in perhaps her best role to date as Julie, Billy Crudup as William, and newcomer Lucas Jade Zumann as Jamie. Surely we have not seen the last of him. But the biggest applause must go to Annette Bening, who brings perhaps the finest performance of her career as the well-intended but at times confused, sad and/or lonely Dorothea. Mills brings us these characters in rich detail and nuance, much to the viewing public's delight. Ever wonder what a "cool cigarette walk" is like? You'll find out in the movie. Music plays a ventral role in the movie. There is a fine original score (mostly electronic) by Roger Neill, but even better are the song placements (Talking Head, Black Flag, David Bowie, the Clash, and many others).

"20th Century Women" premiered to great acclaim at the New York Film Festival last Fall. The movie opened wide this weekend and I couldn't wait to see it. The Friday evening screening where I saw this at was attended nicely although by no means close to a sell-out. Doesn't matter. This is one of the finer movies of the year, for me anyway. If you like a richly-developed character study with an all-star ensemble cast, you cannot go wrong with this, be it in the theater, on VOD or eventually on DVD/Blu-ray. "20th Century Women" is HIGHLY RECOMMENDED!

This is a very strong film, unless you only like fast-paced action films; I'm going to go out on a limb and say you'll probably like this movie.

As is the norm with A24... it's a good film.

I don't really have much to complain about. I belied in the world of the film, I believed the characters were real, etc-- the world and logic of the film was well established. There were a few tropes of the genre, but some strong writing and direction makes one look past this without really thinking about it. I actually cared about the story and wanted to see how things played out.

The story is a bit disjointed, but I think that works to the film's benefit due to the type of storytelling it's going for, which overall is very effective.

I'd recommend this film to pretty much everyone that likes good movies.

8 out of 10

"Guys aren't supposed to look like they're thinking about what they look like." Julie (Elle Fanning)

No they're not, but in Mike Mills' 20th Century Women, some rules don't apply, and the young man, Jamie (Lucas Jade Zumann), is well on his way to come of age in a most unusual household. It's 1979, before the Internet and Reagan and after the Punk rage. In other words, it's a time of cultural and personal transition.

No one is more responsible for this cultural migration in the Fields family than Dorothea (Annette Bening), a middle-aged matriarch with wit and lungs that will, in 20 years, surrender to the assault of her incessant smoking (her voice-over narration tells us so). Dorothea has the calm, contemplative, accepting nature to guide her two children, Jamie and Abbie (Greta Gerwig), into a responsible adulthood prefaced by sexual exploration and establishment defiance.

Although I rarely comment on acting, I must single out Bening for a performance of rich nuance, eschewing the theatrics of Oscar baiting to give us a character with immense affection and uncertainty, just like many of us, I suspect. Her low-key but powerful interpretation should get an Oscar nod.

While the examination of teen sexuality in flux is well described, so too is Dorothea's odyssey from a broken marriage to a Zen-like acceptance. As in the iconic Seinfeld world, nothing seems to be happening. However beneath that middle-class ambiance lie hearts struggling with their own shifting shapes under the watchful eye of family.

20th Century Women is all about the overwhelming part family plays in human development, not in grandly dramatic exercises but in the small notes like sitting in bed chatting or going with mother to a nightclub. As the credit sequence will tell you, life turns out fairly well despite the uncertainties of daily vicissitudes documented so distinctly here.

I understand the rage of many other US reviewers because this movie is so far from usual Hollywood clichés that it does not even look like an US movie! It seems an European movie. Bergman, Fellini and stuff... It is NOT boring. It has its pace and it is exacly what it has to be. I identified myself at different levels. I was born in 1958, just like the main actress (great performance). And like Dorothea I had a daugther when I was in my 40s (she now is 15, like Jamie, Dorothea's son) and I don't know how to talk to her, I don't like much of the music she likes and so on. I was a teenager in the 70s, so I identified with Jamie, great character: I wish I had one thousandth of his self-consciousness when I was his age!

This movie was oxygen for suffocating US major's movies, after sequels and remakes and CGI shows finally something to think about.

20th Century Women isn't about giving us some epic look at a group of friends or a family, but it is about the passage of time with people who are warm and caring and in a genuine way. Mike Mills isn't a saccharine filmmaker, but he also doesn't shy away from sentiment - I always have to point out this is separate from sentimentality - and the feeling that I came away with from the comedy 20th Century Women is this warmth from all of the characters, and this feeling that I know these people, whether I did or didn't (and I actually did in the sense that, at times, the mother and son were me and my mom for a short period of my teenage years, so there's an authenticity just there to me).

There's so much empathy for everyone here that it adds to the authenticity of the emotions, even for Greta Gerwig's Abbie who is, in essence, another 'Greta Gerwig' character like I've seen, or think I've seen, in other movies (her quirky wisdom seems akin to last year's Mistress America at least). While she is my least favorite person in this movie, she's given a history and many moments, surrounding one of those terrible things that happens to people and there's not much to be done about it, or could've, it's out of the hands of anything *to* be done. There's so much work done on the characters here by Mills, getting us to like them despite all of their flaws or those moments where they don't act with logic or sense, that it doesn't matter that there isn't too much of a story. This is the story of these characters in a short span of time while also, as if looking on from some other, ethereal plane, about what this time meant in the context of what came before 1979, and what was to come.

Among the actors here, Lucas Jade Zumann is the breakout star as the 15 year old Jamie, but I was so taken with Benning and Fanning as the 50-ish, "she was in the depression" as she's described mother and the 2 years older than Jamie but that matters so much pleutonic friend respectively. I wonder if the film would've worked with any other actors in the roles, but really I can't imagine anyone else. Every time Bening's on screen she gives Dorothea this feeling of 'well... I guess this is happening now, what do I do about it, I'm not sure', and while she can get angry or concerned she's never one to go too over the top - this is the anti-Fences in that regard of being about a kid scarred by a parent - she does care about what happens to her son, with the "inciting incident" in screen writing terms being him almost dying from doing one of those dumb-s*** things teenagers do on a dare. It's a unique and subtle performance, filled with a sense of... questioning, uncertainty, which is harder to pull off than it looks.

Fanning, meanwhile, is also having to underplay, which is good to see. This is an impressive year for her between this, Live by Night (which she was the best part of) and the Neon Demon, and she's different in all of them. I want to say I like the work she does here the most even as (or because) it's the least likable one among the bunch (and keep in mind she's a born-again Christian in the South in LbN). Mills's writing provides Fanning a great deal to make Julie come alive, but I found her not saying things, the way she shows Jamie how to hold a cigarette, when she is saying little, and then when she is backed into doing something that she should want to do but doesn't go for - going past being 'just friends' with Jamie in the last third - how she responds is devastating. It's like, 'no, don't act this way', as opposed to simply looking at her as a "B"-word, which is how a hackier writer could've gone with it.

Oh, and I must reiterate this is a comedy, and it's funny as hell. There's certainly some dramatic stretches, but Mills mines a lot of humor out of generational splits - Bening's face as she hears early Black Flag, and then trying to "move" to it with Billy Crudup, is one of the funniest things this year - and it's a tricky balance that Mills finds between making the feminism (yes, actual literature and quotes spoken in voice-over from essays) serious AND humorous. We don't doubt that the feminism of the characters is pure, but there's also that question that's posed: how much is really appropriate, or can be legitimately understood, by 15 year old who barely knows who he is in this world?

And on top of this Mills is having fun and some daring as a filmmaker, using psychedelic colors to show cars driving at times, and going not for the slow-motion but fast-motion speed, but not for comedy - the aesthetic point matches up with what the movie's about: life moves too fast, and we have to try and keep up with it best as we can and grow with things and become better people as everything moves too quickly. If it's ultimately too episodic to be anything really great or up to be there with the very best this year, I'd still tell anyone who likes smart character independent(ish) movies centered on teenagers and adults to see it immediately; it has a good place alongside The Squid and the Whale and, to a less taboo extent, Diary of a Teenage Girl.