
Where Are the Women? Our Brand Is Crisis
A female protagonist in a position of authority, in which she is allowed the space to be professional and be heeded by men, is a very good thing.

A female protagonist in a position of authority, in which she is allowed the space to be professional and be heeded by men, is a very good thing.

Women wait, and wail, while men struggle to survive and other men struggle to rescue them.

The life of a troop of macaques is explored via the travails of a female monkey. And the film is narrated by a woman. These little things have a big impact.

A female protagonist, a female villain, and a supporting cast made up almost entirely of other women. And their story is not about seeking romance!

A story about two women trying to carve out places for themselves in the world? This is perhaps the very definition of a feminist film.

Update! Another year, another slate of films proving there is almost nothing that men can do, think, or be that The Movies will not deem worthy of a story.

It’s about a transgender woman, sure, but it’s ultimately little more than a showcase for a male actor to show off his range and be “brave.”

It’s disappointing that there is only one significant female character here; at least she gets one of the more prominent arcs among the ensemble.

There’s a female coprotagonist, her primary concerns are not about babies or romance, and she doesn’t get naked or have to be sexy. It could be worse.

Most of the women here are defined solely as wives and mothers. (There is a lady lawyer… but lady-lawyering has been bad for her soul, natch.)