January 2017 Roundup

This roundup post is coming a little later in the month than they usually do. Mostly because I wasn’t sure if I would keep doing them in 2017. And also because I haven’t been writing anything, even on letterboxd, about films, lately. I just haven’t felt like it. But that’s probably all the more reason to start doing it again!

I got to the cinema twice, in January, and that was to see Moana, which was very lovely, and Moonlight, which was just gorgeous. Utterly beautiful. It’s very deserving of all the praise it’s got. I watched 23 films in total and, aside from Moonlight, I think my favourite was A Home at the End of the World. It’s certainly the one that affected me the most. I was thinking about it for days after, and, even now, I still get lost in thoughts about it. Really beautiful, pure, lovely film.

I’m sure I watched more than just one trailer in January, but I was very excited to see the trailer for My Cousin Rachel. It looks right up my alley.

January Favourites

As I mentioned my favourite watches of January were A Home at the End of the World and Moonlight. I haven’t written up reviews for either of them, on letterboxd – I started one for A Home at the End of the World, but I kept dithering over it and it was making me anxious, so I’ve left it to stew over for a re-watch somewhere down the track – but they were both beautiful films. Moonlight was the better of the two, but I think they’re both well worth a watch.

Directed by Women


I’m doing the 52 films by Women challenge again, this year. Once again, I’m including re-watches, so my count for January was four films directed by women. My first time watches were Anatomy of Hell, which I did not enjoy one bit, and Palo Alto, which was pretty but didn’t give me much to grasp onto.

First time watches: Anatomy of Hell; Palo Alto

Re-watches: Frozen; Josie and the Pussycats

What I wrote

A few reviews on letterboxd, but nothing else.

What I read

66 Movies Directed by Women to Look Forward to in 2017 at Film School Rejects

Rogue One proves it’s not enough for ‘feminist’ films to have a great female lead at The Sydney Morning Herald


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