
Where Are the Women? Pan
Women here are nasty nuns, absent mothers, manic pixie princesses, or pretty mermaids, all helping a little boy on his adventures.

Women here are nasty nuns, absent mothers, manic pixie princesses, or pretty mermaids, all helping a little boy on his adventures.

This should be the basic model for female representation onscreen: it offers the bare minimum we should accept for the depiction of women in most films.

A great example of how a movie with a male protagonist can still represent even a woman in “traditional” screen roles in a powerful way as fully human.

With one tiny (and barely noticeable) exception, women here are nothing more than lovers or mothers to men.

It is wonderful to see women in roles with historical and cultural significance. This is splendid representation of women as fully human people.

The only woman in the ensemble is the male protagonist’s girlfriend, who tells him how clever he is and reassures him that he must follow his dream.

While at first glance it looks as if this could be a film that represents women well, every potential positive comes with an accompanying negative.

There is no significant female presence here. Women make brief appearances as girlfriends, exes, and mother figures, but have little impact on the men.

A stellar example of a film that allows women to be fully human, including as scared, as asshole-ish, and as ignoble as men are allowed to be onscreen.

As is all too typical, the men here get to have full lives (such as careers or talents that drive the story) while the women only to get to have those men.