![]() ![]() ![]() Those five titles are from celebrated forerunners in their field. In fact, just five films in the top 100 films by Asian women were released prior to this millennium. As a comment on how the global film industry and film lovers alike have prioritized cinematic voices, this speaks volumes. By comparison, the earliest film on the official Letterboxd list of 100 highest-rated films by women is from 1926, and the earliest from the Official Letterboxd 250 is Buster Keaton’s Sherlock Jr., from 1924. I specify “last half-century” because the earliest film on the list is from 1982. And yet, having watched the films and examined the list’s statistics, I’ve noticed interesting thematic discoveries that highlight the ways in which Letterboxd members have been watching-and appreciating-the endeavours of female Asian filmmakers from the last half-century. It is, of course, a sweeping definition, encompassing directors of south, east and central Asian heritage from across the world (a list focused on west Asian filmmakers is still to come).įrom such a wide net, it could be assumed that common ground may be hard to find. The list is derived purely from ratings rather than popularity (a measure of all activity around a film), and there are several well-known directors on the list-Lulu Wang, Chloé Zhao, Mira Nair, Naoko Yamada, Alice Wu, Deepa Mehta-alongside many more waiting to be added to your watchlists.Įligibility for the top 100 required that directors be of Asian heritage, regardless of where they were born, or where they make their films. In celebration of Chloé Zhao’s historic Oscar wins, and to fill a major gap in film lovers’ lives, the team at Letterboxd has computed the 100 highest-rated narrative feature films directed by Asian women. ![]()
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