WomenInFilm Tagged Articles at Cinematical

While skimming my feeds, I came across a post at THR about a Stanley Kramer celebration called "Films That Changed the World." It immediately got me thinking of world-changing cinema, and how much a film can impact us. But try as I might, I couldn't come up with films that changed my world, and instead, kept going back to the story. See, this new series is celebrating the films connected with the iconic filmmaker that were socially conscious. First up: Yentl.

It wasn't so much the film that kept grabbing me, but a quote by Kramer's daughter, Kat: "The history-making film, the first major studio production ever produced, directed and co-written by its female star, shattered Hollywood's glass ceiling like no other film ever did." I wish I could say that it shattered that glass ceiling. If it did, we wouldn't have such abysmal percentages of women in the industry -- both in it and writing about it. Last year, 25 years after Yentl, women didn't even hit 20% of all directors, producers, writers, and the rest of the big behind-the-scenes roles in the industry. We couldn't even hit 10% of all directors. Not even a quarter. Not even a tenth.

That's not a shattering of the glass ceiling, it's a crack in the glass that few women survive when they try to pull themselves through. It's monumental when a woman directs a big, supernatural romance (Twilight), and sadly not surprising when she's then pulled from it. More specifically, it was monumental for a woman to helm it from the pens of other women, even though the film is geared towards the girls itching for a little dark, vampiric action. Women directing for girls? Shocking!

The only way to stretch that crack, and just possibly create that shattered ceiling Kat Kramer was talking about is to do it again. And again. And again. Sadly, it can't just be with solid, noteworthy work. For every wonderful Protagonist, there needs to be a ceiling shake by Amy Heckerling, or a solid kick by Kathryn Bigelow, or Mary Harron -- blockbusters, hits, action, and horror that prove we're not all clumsy romance fiends and fashion victims. It's a fact that seems to be forgotten much too often.

I guess we won't be seeing the first female President of the United States in 2009, but we could at least see the first female cinematographer nominated for an Academy Award (in the cinematography category, that is). In the 80 years of the Oscars there hasn't been one female nominee for Best Cinematography. Shocking, isn't it? But fortunately there's a chance for next year's ceremony: Mandy Walker, who shot Baz Luhrman's war epic Australia, could be a shoo-in for one of the five nomination slots if the film is Oscar-worthy in general.

The Oscar blog In Contention points out the possibility in a recent post celebrating Walker's reception Tuesday evening of the Kodak Vision Award at the Women in Film's Crystal + Lucy Awards (other honorees included Salma Hayek, Sherry Lansing, Ginnifer Goodwin, Jeffrey Katzenberg and Diane English and the ensemble of The Women). Clearly we only need to look at the trailer to see that Walker's work on the film is gorgeous and might have a shot. In Contention also notes Walker's previous achievements, such as her Independent Spirit Award nomination for Shattered Glass.

There are two main reasons that I love movies. One -- they offer creative, fluffy, informative, and/or intellectual enjoyment and stimulation. Two -- they offer a brief vacation from reality with a handy serving of inspiration. If I'm feeling sluggish, I'll pop in an energetic film. If my work lags, I'll pop in something with professional women. Or rather, I'll try. I came to realize over the years that to pick a film with any sort of female-centric inspiration usually meant that I'd have to forgive something else.

The female star may be professionally successful, but she's neurotic. Or she is obsessed with beauty and fashion. Or she wants to have a family. The lady butt-kicker might be tough, but she's also half-naked, or doomed, or... Each female protagonist might have modern aspects, but there's almost always a stereotypical aspect tacked along with it.

Over at Radar, they've compiled a list of what they call the most misogynistic movies since 2000. Some you might agree with, others you probably won't. But it's interesting once you start laying out the films that have popped up on the big screen over recent years. Do you agree with this list of alleged offenders? Which ones are they forgetting? What do you think of the state of women in film as a whole? What cinematic stereotypes are you sick to death of? Discuss!

[via IFC]

The Women in Film panel was held yesterday, and there was the usual interesting mix of women to mingle and network with. The first hour or so is networking time, as the panelists arrive at staggered times to allow press access for quick interviews and photo sessions. This year's panel, which was moderated by Lucy Webb of Women in Film Los Angeles, included Patricia Clarkson (Blind Date and Phoebe in Wonderland), Pamela Cuming (co-screenwriter, Downloading Nancy), Lauren Greenfield (Director Kids + Money) Ellen Kuras (DP/Director/writer Nerakhoon (The Betrayal)), Sharon McGuire (Director/Screenwriter, Incinderary) Amy Redford (Director-The Guitar Premiere), and Marina Zenovich (Director Roman Polanski: "Wanted and Desired").

During the networking time, I chatted a bit with Amy Redford, Ellen Kuras and Women in Film director Jane Fleming. I asked Fleming about the need to have panels focused on women in film, and whether we might ever reach the point where there's enough parity in Hollywood that we don't need them anymore. I was reminded of Tamara Jenkins, director of The Savages, and actress Laura Linney, going off on this very subject at Telluride. Fleming's take was that even when true equality for women in Hollywood is achieved, it's still beneficial to have women gathering together to network and share ideas. We talked a bit about what WIF does; beyond networking opportunities and panels such as this one, they also provide grants for completing film projects.

Where is the modern woman? A number of times of the last few years, I've asked friends to list films that center on modern, successful working women where floofy romance is the center of the plot. While I refuse to drown in the sappy romcom or family fare, I always have to have my blind eye ready when I want to watch something that in some way either reflects my life, or inspires me to push forward. I've ignored the outfits and silliness of Sex and the City, the sexual dysfunction of Laurel Canyon and just how old 9 to 5 is.

Now, the New York Times has put out an article about Hollywood's Shortage of Female Power. I click on the link, expecting something similar to what I typed above, but that's not what I got. Perhaps it is best summed up with this: "While Hollywood has not stopped making films appealing to women and girls, as evidenced by recent and coming releases like Music and Lyrics, Nancy Drew and The Nanny Diaries, women here worry that the future will not be so bright." While I don't think I could knock the ever-tough Drew, since I grew up reading about her, that has to be one of the most reductive thoughts that I've read in a while. By now I'd think that women have come far enough to be more than a demographic itching for light romance and childcare. Yes, "female power" is lessening behind the scenes as a number of top, female studio heads like Gail Berman have left their positions. However, that's not synonymous with "female" floofyness.

But that's all that the Times discussion is based on. Another quote has producer Lindsay Doran saying: "You don't see companies saying, 'More than half of this population is women, we should design a slate to come up with movies like The Break-Up and The Devil Wears Prada.'" Maybe that's because women are more than flipping crazy ex-girlfriends or girls starving their already-thin frame to fit into the latest fashions? Could it be, perchance, that women want films that give them more credit? Give us balance, people!

The Alliance of Women Film Journalists is a new organization founded just this year, but it's not too young to join in the awards season fun. The group, which counts our own Kim Voynar in its membership, isn't like most critics circles when it comes to end of year honors. The AWFJ's awards, the EDAs (an acronym for "Excellent Dynamic Activism" and namesake of actress Eda Reiss Merin, mother of AWFJ co-founder Jennifer Merin), are primarily focused on women in film.

There are a few categories that aren't woman-specific, such as Best Film and Best Ensemble and, my favorite, Movies You Wanted to Love But Just Couldn't. But you'll notice that there are few awards given to men, as actors or directors or anything else. For a man to be recognized, he has to have made a film about women or played a part supporting a woman protagonist. Considering that outside of the actress categories of most awards women aren't well represented, the EDAs give us a nudge to pay attention to the wonderful contributions that women are making behind the camera. Oh, and they also have a category for Best Depiction of Nudity or Sexuality, which is stirring some debate.

So far the AWFJ has only announced the nominations for the EDAs; the winners will come later this month. Some of the final picks I'm looking forward to include the winners of the following categories: Actress Most in Need of a New Agent (it's important just to be nominated); Don't Stick Your Head in the Sand (I think it spotlights daunting films); and, of course, Movies You Wanted to Love But Just Couldn't (will it go to the movie you most wanted to love but really couldn't?).

Go to the AWFJ website to see all the nominations. I would write them all out here, but there's a lot, and it is more important for people to visit the organization's site anyway.

In Hollywood, people win so many awards they apparently have trouble juggling them all. Producer Lauren Shuler Donner (X-Men franchise; She's the Man) was honored at the Women in Film Crystal and Lucy Awards on Tuesday night, and she accidentally dropped her made-of-crystal Crystal Award on the ground and broke it.

The two other winners of the Crystal Award were an overwhelmed Jennifer Lopez and songwriter Dianne Warren (Aerosmith's "I Don't Want to Miss a Thing"). Maria Bello received "The MaxMara Award" for the "Face of the Future" and Geena Davis was given The Lucy Award, which is named for Lucille Ball. After accepting her award, Davis made a speech about the gender imbalance still going on in movies and television, saying it isn't getting better.

I think it has gotten a little better, hasn't it? Okay, so there being more female superhero roles isn't a great breakthrough, especially when they're in movies like Catwoman and Aeon Flux. I get it.