The Venice film festival — which ends Saturday — is overflowing with movies with female storylines and meaty parts for women.
Yet all but one of them are directed by men.
The #MeToo movement set off by the Harvey Weinstein scandal may seem to be bringing breakneck change to the film industry — with Hollywood players queueing up at Venice to pledge themselves to the female cause — but the rhetoric is taking time to filter through to the screen.
Only one film out of the 21 in the running for the Golden Lion top prize is by a woman.
With Venice now the launchpad for the Oscars race, the “toxic masculinity” the festival was accused of is no longer acceptable, say critics.
But look closer and more than half of the films in competition either have women leads or female-focussed scripts.
From the hilarious historical British comedy The Favourite with its no-holds-barred battle between powerful women at the court of Queen Anne, to the indigenous Mexican maids in “Roma”, Alfonso Cuaron’s beautifully gritty paeon to the women who raised him, strong women have dominated the screen in Venice.
Indeed, both films are favourites for the top prize alongside “The Nightingale”, Jennifer Kent’s rousing epic about an avenging convict woman in colonial Tasmania.
And men were relegated to bit parts, the playthings of bloodthirsty Berlin witches, in the slick female horror, “Suspiria”.
‘Sex and love objects’
The trend appears to be global.
Both Argentine films in competition, The Accused and The Quietude, turn on relationships between women. Even the two martial arts flicks — Chinese master Zhang Yimou’s Shadow and Japanese samurai tale Killing — are held together by towering female performances.Not to mention Lady Gaga and Natalie Portman playing kick-ass pop divas in A Star is Born and Vox Lux.
“Which is big progress even if men are directing them,” said Australian critic Stephanie Bunbury.
“But we do have a hell of a long way to go.
“The penny may only now be dropping, but from the birth of cinema, women have largely been kept to a minor, subsidiary role. Their job was be decorative ciphers, to reflect male glory or be sex or love objects,” she told AFP.
When women got meaty parts, it was “often through their relationships with male directors, on whom they were dependent,” Bunbury added.
Women have been seen through the eyes of men. “Which is why when we see films (made by women) with a female gaze, they often seem so refreshing,” she argued.
Cuaron — an Oscar winner for Gravity and Children of Men — told reporters that seeing the world through women’s eyes for Roma had marked him.
“The film forced me to see things as a woman and a member of the lower classes from the indigenous population,” said the Mexican-born director.
“It gave me a point of view that I never had or really understood before.”
Australia leading way
“Cinema’s job is to reflect the world and if we only reflect 50 percent, it’s not doing that.”
Her producer Bruna Papandrea insisted that it wasn’t enough to get women behind the camera.