Santa Barbara, 1979. The year of Iranian revolution, energy crisis, the beginning of never-ending antagonisms between the West and the Middle East, and the beginning of an end of Detroit and America’s auto industry.
A car that dramatically bursts into flames in the opening scene symbolically represents an end of the industrial force that was once the USA, and on remains of which will all to soon be emerging new and irreversibly destructive, neoliberal politics of Ronald Reagan. However, as this is not a film about American politics, the symbolism of the burning car hides two separate meanings: a car, universal symbol of masculine society and patriarchy, that is slowly disappearing in burning flames, is also indicating an absence of a fatherly figure in our 15-years old protagonist’s life. “This was my husband’s Ford Galaxy,” explains Dorothea, Jamie’s enigmatic mother in a voice-over narration that is constantly reappearing throughout the film, helping us understand the unusual relationship between this chain-smoking single mother who is uncompromisingly bending all existing social “rules” of gender, sexual identity and nuclear family, and her rebellious teenage son who is just beginning to learn about life, love and late 70’s punk scene.
Dorothea (phenomenal Annette Bening), an elderly mother who grew up with music of Cole Porter and films of Humphrey Bogart during the Great Depression, finds herself disconnected from her adolescent son, whose life, problems, music preferences and a subculture he identifies himself with, are too far away from what her generation could ever fully comprehend. This leads her to a conclusion that the generational gap between the two of them is far too big for her alone to be able to raise him. She turns for help to her tenant Abbie (Greta Gerwig, charming as always) and to Jamie’s platonic love Julie (Elle Fanning), both of whom spend most of the days hanging out in Dorothea’s Victorian villa. Abbie, who is drawing most of her artistic inspiration from the intangible persona of David Bowie, is an aspiring photographer and a feminist, is introducing Jamie to the vibrant life of underground punk scene, seduction of women, and female sexuality as described in a cult feminist work, Our Bodies, Ourselves. Julie, although merely 16, also has an incredible depth to her – she, just as Abbie, transcends all the stereotypes of women who strive towards stability, marriage, family and security. The two of them, together with Dorothea, form a unique matriarchy in which all taboos of what is an appropriate conversation to have at the dinner table, disappear: women sexuality, pregnancy test, contraception, orgasm and giving birth is just a few of the topics that this film shamelessly touches upon. But where Mills, even if just for a second, becomes truly controversial at breaking the social taboos concentrated around women’s biological processes, is with Abbie’s monologue about (and a tribute to) menstruation – to something that’s absolutely natural, and yet is rarely talked about (let alone portrayed in the media, as recent controversy over Instagram picture showed), causing women to hide all the signs of menstruating, as if it is something disgusting and shameful.
Mike Mills broke into the film scene with his debut indie Thumbsucker in 2005. However, it wasn’t until his second feature, Beginners, that his visual, with collages of photographs intertwined style, and with real situations and personal memories entwined narrative voice fully came into being. 20th Century Women, his third feature, is undoubtedly the most logical follow-up to his previous film, as they perfectly complement each other, in more ways than just in visual and narrative style. However, if he was trying to depict (and in the process of that, understand) his father’s coming out as a gay man at the age of 75 in the Beginners, he now focuses on the other parental half – his mother. It goes without saying that this is another deeply personal film, filled with real-life events and situations, through which Mills somewhat therapeutically analyses an enigmatic personality of his late mother, all while paying a tribute to her indescribable complexity, eccentricity and unquestionable uniqueness.
What Mills manages to bring to the screen is a wonderful story about motherhood and women’s friendship, revolving around three incredibly complex and interesting female characters. However, what he also creates with this timeless tribute to strong and empowering women that shaped his life, is a unique time capsule of what life was like in 1979.
“They don’t know this is the end of punk. They don’t know that Reagan’s coming,” Dorothea says at one point in a voice-over narration. But what they don’t know is that world as they know it will soon forever change with destructive neoliberal politics, a complete destruction of welfare state, endless austerity, and never-ending attacks on women’s (reproductive) rights.