Gone Girl and "The Cool Girl"

There have been a lot of complaints that David Fincher's Gone Girl is a misogynistic film. Quite frankly, I understand that. After all, the film depicts its female lead as a mastermind who frames innocent men for rape, and one could even argue that the film suggests  all women are "fucking crazy bitches," to quote Ben Affleck's character Nick. In short, the character of Amy (Rosamund Pike) is manipulative, hysterical, and downright psychopathic.

However, I think that this surface-level analysis of the film doesn't fully capture its complicated commentary on gender politics. In fact, what makes Gone Girl so progressive and, from this humble female's perspective, so on point is the way that it completely shatters the male fantasy of The Cool Girl.

What, you might ask, is The Cool Girl? Well, to quote the original Gone Girl novel:

Men always say that as the defining compliment, don’t they? She’s a cool girl. Being the Cool Girl means I am a hot, brilliant, funny woman who adores football, poker, dirty jokes, and burping, who plays video games, drinks cheap beer, loves threesomes and anal sex, and jams hot dogs and hamburgers into her mouth like she’s hosting the world’s biggest culinary gang bang while somehow maintaining a size 2, because Cool Girls are above all hot. Hot and understanding. Cool Girls never get angry; they only smile in a chagrined, loving manner and let their men do whatever they want. Go ahead, shit on me, I don’t mind, I’m the Cool Girl.

Men actually think this girl exists. Maybe they’re fooled because so many women are willing to pretend to be this girl. For a long time Cool Girl offended me. I used to see men — friends, coworkers, strangers — giddy over these awful pretender women, and I’d want to sit these men down and calmly say: You are not dating a woman, you are dating a woman who has watched too many movies written by socially awkward men who’d like to believe that this kind of woman exists and might kiss them. I’d want to grab the poor guy by his lapels or messenger bag and say: The bitch doesn’t really love chili dogs that much — no one loves chili dogs that much! And the Cool Girls are even more pathetic: They’re not even pretending to be the woman they want to be, they’re pretending to be the woman a man wants them to be. Oh, and if you’re not a Cool Girl, I beg you not to believe that your man doesn’t want the Cool Girl. It may be a slightly different version — maybe he’s a vegetarian, so Cool Girl loves seitan and is great with dogs; or maybe he’s a hipster artist, so Cool Girl is a tattooed, bespectacled nerd who loves comics. There are variations to the window dressing, but believe me, he wants Cool Girl, who is basically the girl who likes every fucking thing he likes and doesn’t ever complain.

While this rant is cut down to a few lines in the film version, the message is still clear. Amy had to put on this act of femininity and play the part of what men want in order to seduce Nick. And when he finally got to know the real her and Amy's act faded away, he cheated on her and planned to leave her. While this of course in no way justifies Amy's actions, every female can identify with her experiences. And thus, in a way, Amy is not just a femme fatale but a badass female hero who, through her scheming and framing of Nick, is saying a resounding "fuck you" to every man who gets bored of a woman because he only fell in love with his own idea of her.

As Gone Girl writer Gilian Flynn puts it, "I waited patiently - years - for the pendulum to swing the other way, for men to start reading Jane Austen, learn how to knit, pretend to love cosmos, organize scrapbook parties, and make out with each other while we leer. And then we'd say, Yeah, he's a Cool Guy.”

But that never happens. Instead, women continually are forced to embody the impossible double standard of the feminine, hot and sexy yet impossibly cool girl. The girl who never nags, never gets mad, and is impossibly "chill" and understanding at all times. The girl who caters to male perceptions of attractiveness but can still hang with the guys.

We see this Cool Girl image permeating pop culture. The Cool Girl is the beer-drinking, french fry eating, football-loving "one of the guys" Sabrina (Olivia Wilde) in The Change-Up, and she's the casual sex-having commitment-phobe Jamie (Mila Kunis) in Friends with Benefits. Even Jennifer Lawrence's lovable public persona is built around this false, manufactured idea of The Cool Girl--she loves to stuff her face full of Doritos and joke about her bodily functions and yet she's still sexy and fuckable... and everyone thinks, "Wow. She's not like most girls." And that misperception that she's somehow different than most girls (because most girls are so naggy and annoying, right?) is what makes her so fucking cool to men.

 Now, there is one other reason why I absolutely love Gone Girl. And it's the same reason most people have such a problem with it.

Amy is a psychopath. She's evil. She's cunning, manipulative, and devious. She's the kind of villain that is so scary, so cold, so ruthless, she will go down in movie history as one of the most infamous and chilling villains of all time. And she's a woman.

Let's face it. All of the cool villains in pop culture are male. Consider The Joker (Heath Ledger) in The Dark Knight or Kaiser Sosse (Kevin Spacey) in The Usual Suspects. The evil mastermind is always a man. In most films, women get to play the part of the damsel in distress or even the likeable protagonist, but when do women get these meaty, challenging roles where they play complex characters, psychopaths, sociopaths, or brilliant manipulators? When do women get to play superhero villains or serial killers? When does the big twist ending reveal that the woman was behind everything? Never.

Thus, I love Gone Girl because it's not even Ben Affleck's film. Of course, it's marketed as a Ben Affleck film, considering most people don't know the name Rosamund Pike. (And this is not meant as an insult to Ben's performance--he does a phenomenal job in the film.) But Gone Girl is impactful due to its big twist in which the audience realizes that Amy is actually an evil mastermind. And it's so surprising because women NEVER get these kinds of roles, so no one would ever expect it.

So, I love Gone Girl because, by the end of the film, everyone is talking about Rosamund Pike's performance. For once, a woman gets to steal the show. Finally, a female actress gets to play a twisted character. And that's ultimately what makes Gone Girl so special--Rosamund Pike's scene-stealing performance shows just how strong, devious, and powerful women can be.

Ultimately, Gone Girl is a brilliant film because it initially reinforces the idea of The Cool Girl. It suggests that Amy is the perfect housewife, and, as viewers, we all yearn to know what happened to this perfect woman and mourn her disappearance. Then, halfway through, Fincher turns this false idea of the Cool Girl on it's head--actually, he tells us, that woman never existed. Thus, the film is great because Amy gets to punish her own husband for only loving her as The Cool Girl as opposed to the real her. She gets to punish Desi (Neil Patrick Harris), too, for only loving the idea of her, but resenting her when she gains weight and is no longer sexually available to him--and for that, she slashes his throat.

Best of all, Amy is not even punished at the end of the film. Instead, she manipulates Nick into staying with her, and she will torture him for the rest of their marriage. On top of that, Nick is forced to live with the actual woman he married--not the Cool Girl he thought she was, but the real her. And it's beyond satisfying.

FEMINIST FILM/TV RECOMMENDATION OF THE WEEK: BEFORE SUNRISE, BEFORE SUNSET, BEFORE MIDNIGHT

Check out Richard Linklater's masterful Before Sunrise trilogy, which depicts the development of a relationship over time, as each of the films takes place over the course of a single day. Julie Delpy's character is one of the most nuanced, realistic, and strong female characters ever written, and the films do such a beautiful job depicting the highs and lows of falling in love, settling down, and growing old with your partner. 

My Social Bookmarking Soulmate

I recently stumbled upon my "social bookmarking soulmate"--that is, someone else researching and sharing articles related to women in film--on Diigo. Her name is Jenni Young.

I LOVE YOU, JENNI!

I know it might sound crazy, but I feel like Jenni and I are already friends. When trying to find other "social bookmakers" who also research women in film like I do, I naively thought it would be easy to find someone like-minded on Reddit. Boy, was I wrong. Shockingly, any search I made on Reddit with the tags "feminism" and "film" mostly lead to Men's Rights Activists posting disturbing and profoundly upsetting views regarding a woman's place in mainstream film or even pornography. While there were certainly feminists standing up to these bigots,  those feminists seemed more involved in general "/feminism" subreddits, and didn't cross over into the film subreddits much at all. Conversely, most of the posts in the film-related posts on the film subreddit had little to do with feminism.

All of this frantic searching for a like-minded person online really illustrates just how uncommon it is to find other people who are truly invested in studying and promoting progressive changes in terms of women's roles in the film industry. It's easy to get caught up in the liberal, educated bubble of my film school and think that everyone cares about or is even aware of these issues, but the truth is that most people don't seem to care.

On to Jenni, though...

I was SO relieved when I finally stumbled upon Jenni's Diigo profile and realized there is another person out there interested in sharing articles about women in film! Even better, her Diigo profile actually exposed me to some incredible articles I would never have discovered otherwise.

First, and perhaps most importantly, she shared a Washington Post article dissecting violence against women in movies that could actually work as a source in a paper I am currently writing about violence against women in Hitchcock's films. This provocative article essentially argues that recent films A Walk Among the Tombstones and The Equalizer use horrific violence against women as an excuse for their male protagonists to go on a quest for revenge; thus, the film employs this narrative device so that filmmakers can indulge in their most "luridly toxic fantasies" while pretending to abhor them. The article wonderfully breaks down the "damsel in distress" trope in a fresh and thought-provoking manner, providing me with some new food for thought on films that claim to be against violence against women but still allow the filmmaker and audience to take pleasure in watching it...

Secondly, she posted another Washington Post article that sheds new light on the Bechdel Test which I introduced a few weeks ago. To summarize, the article reports findings that the median gross for films that passed the Bechdel test was $2.68 for every dollar spent, whereas films that failed made only $2.45 for every dollar spent. Thus, the article adds a whole new dimension to the discussion on the Bechdel Test, now that there is seemingly no financial reason for Hollywood to be making films that are so exclusive towards women. In fact, recent hits like Gravity, Divergent, Lucy, and The Hunger Games illustrate that female-driven blockbusters tend to dominate at the box office. So, why isn't there a standalone female superhero movie yet? Why was only one summer blockbuster this year starring a female lead? We now know that money is not the answer behind these tough questions.

Finally, she shared a recent New York Times article interviewing the fabulous actress Viola Davis. This fascinating piece raises very interesting food for thought on how race intersects with the issues of gender I have been exploring. In particular, Viola Davis comments on how it is especially hard for her to find challenging, complex roles where she can play flawed, well-rounded women as a black woman over the age of 40. Considering women are already cast in mainstream Hollywood films as sexual objects/love interests, most female stars booking big roles are white, skinny 20somethings. Thus, Viola brings up an interesting part that it is even MORE difficult as a woman of color to play complex roles. As Viola puts it, "I'll never get cast as Bradley Cooper's love interest." Until her Oscar nominations, mot of her roles were as a maid, a "mammy," or a nameless cop/government employee. The interview is a fascinating read in which Viola very eloquently voices her concerns about the lack of compelling roles for black women, which adds an entirely new layer to the discourse on women in film.

Overall, it was a great experience searching for (and finding!) my social bookmarking soulmate, and I was able to discover some wonderful articles along the way. (Also: Jenni's Diigo profile has an amazing speech by Joss Whedon, the creator of Buffy, on female equality you should check out, a great article on why there hasn't been a female superhero movie yet, and so many more gems...) I strongly encourage anyone passionate about women in film to connect with like-minded individuals who can help expand our knowledge of this imporant issue.

And now, drumroll...

FEMINIST MOVIE/TV RECOMMENDATION OF THE WEEK: TRANSPARENT

Transparent is Amazon's hot new critically acclaimed show (available to those with Amazon Prime) about Laura Pfefferman, a father who comes out to her children about her decision to start transitioning from being a male to a female. It's a touching, unique, hilarious, and very emotionally honest show about how this dysfunctional family copes with such a shocking revelation. Most importantly, Gaby Hoffmann and Amy Landecker are absolutely extraordinary in their roles as Laura's two somewhat flawed and self-centered but loveable daughters. This show has some of the best, most complex roles for women I have ever come across and it offers such a realistic, nuanced portrait of a family living in modern day L.A. Plus, it shines a much-needed light on the struggles transgendered women face, and Jeffrey Tambor is a revelation in the lead role. Check it out!

Sexism and the MPAA

The MPAA is a dated, arguably Medieval organization that needs to be disbanded. While its intention is to keep parents informed of adult content in movies, it actually censors films and unfairly wields the power to determine a film's box office success. If a film receives an NC17 rating, most theaters will refuse to play it, and the film cannot receive enough mainstream attention to even compete for an Oscar. Plus, at the few art house theaters that will play the film, moviegoers under the age of 17 cannot be admitted (even if they are accompanied by an adult), and many adult moviegoers will not see the film due to the taboo associated with an NC17 rating, thus ensuring that the film will flop at the box office. And the worst part? The standards used to determine a film's rating are arbitrary and unfair. 

In particular, the criteria behind the MPAA's ratings is abhorrently sexist. While the MPAA is incredibly lenient when it comes to violence and gore--or even the sexualized torture of women--any depiction of female sexuality is almost guaranteed to get slapped with the kiss of death: an NC17 rating.

Here are just a few of the egregious MPAA ratings controversies of late:

1. In 2010, Blue Valentine was initially slapped with an NC17 rating because it depicted a male character (Ryan Gosling) performing oral sex on a female (Michelle Williams). Despite the fact that there was no nudity during this brief one-minute scene, the MPAA argued that the film's "explicit content... makes viewers uncomfortable," and thus claimed that the film was deserving of its NC17 rating. Fortunately, intimidating studio head Harvey Weinstein appealed the rating, and after a lengthy, highly-publicized battle with the MPAA, the rating was lowered to an R. It's bizarre and unfortunate that the MPAA seems so afraid of females being the sole recipient of pleasure during sex, since countless films depicting females perform oral sex on males receive R ratings without question.

2. In 2013, indie flick The Necessary Death of Charlie Countryman also received an NC17 rating due to a scene in which a male (Shia LaBeouf) performs oral sex on a female (Evan Rachel Wood). Unfortunately, due to the film's low budget, the filmmakers could not appeal the decision, and the director ultimately had to cut the oral sex scene to receive an R rating, although scenes of gruesome, explicit violence got to remain intact. This controversy is especially upsetting because it highlights the way independent filmmakers are the real victims when it comes to the MPAA. As explored in the documentary This Film Is Not Yet Rated, the MPAA is significantly more lenient when rating studio films, and the major film studios can afford to appeal any undesirable ratings, while indie filmmakers without Harvey Weinstein crusading on their behalf are forced to censor their films to please the narrow-minded MPAA.

At least Evan Rachel Wood took to Twitter to tell the MPAA what she really thought:

3. Perhaps most appallingly, masterpiece and recent Palme D'Or (for those who don't know, that's first prize at the Cannes Film Festival and arguably the most prestigious filmmaking award in the world) winner Blue is the Warmest Color was banned in Idaho in part due to the MPAA. It's no surprise that the film received an NC17 rating due to its lengthy scene depicting passionate lesbian sex between its two female leads. (I could probably go on a 20 page rant about the MPAA's homophobia as well, but that's for another blog.) Despite the fact that the film is one of the most moving and honest portraits of growing up and young love, it could not be shown in Iowa's only art house theater, the Flicks Theater, due to its MPAA rating. Apparently, because Flicks serves alcohol, Blue is the Warmest Color was banned since there is a law in Iowa that forbids theaters with an alcohol license to show NC17 or Not Rated films featuring "acts or simulated acts of sexual intercourse, masturbation, sodomy, bestiality, oral copulation, flagellation or any sexual acts which are prohibited by law" and "any person being touched, caressed or fondled on the breast, buttocks, anus or genitals." Due to outdated laws regarding the U.S.'s fear of sex, an entire state of people was deprived of the best art house film of the year, but they can see Transformers blow each other up any night of the week.

Now, let's compare these three NC17 films to recent R-rated films.

I adore Martin Scorsese, and The Wolf of Wall Street was one of my favorites films of last year. However, I think its undeniable that sexism led to Wolf receiving an R rating while Blue is the Warmest Color, a tender, gentler, and realistic portrait of female sexuality, was slapped with an NC17. Wolf features numerous explicit sexual acts, including Jordan Belfort (Leonardo DiCaprio) actually blowing cocaine into a stripper's ass! The film also depicts prostitutes, gang bangs, and full frontal nudity throughout, but the sex in the film always exists as a means to pleasure male characters. To Jordan Belfort and the other male investment bankers in the film, sex is not about pleasuring women but about using, objectifying, and demeaning them. And Wolf gets an R rating.

I also think the U.S.'s unhealthy obsession with and desensitization to violence is concerning. Violent slasher films where victims are tortured and butchered to death like Scream and The Texas Chainsaw Massacre easily skate by with R ratings and films meant to titillate audiences by sexualizing the torture of women like Hostel are rated R as well. In Hostel, all of the thrills are derived from watching naked, gagged women get tied up, raped, and tortured.

I think Ryan Gosling said it best when discussing the Blue Valentine NC17 scandal:

Gosling rants, "How is it possible that these movies that torture women in a sexual context can have an R rating but a husband and wife making love is inappropriate?" I think we should all be asking ourselves that very question.

FEMINIST FILM/TV RECOMMENDATION OF THE WEEK: OBVIOUS CHILD

Obvious Child is a moving and hilarious portrayal of a single woman working as a stand-up comedian in New York whose one-night stand leads to an accidental pregnancy. The film is progressive due to the fact that it never questions her decision to get an abortion and it offers an insightful and funny examination of contemporary dating and hookup culture. It's a refreshing romantic comedy that proves the genre is still alive and can challenge or surprise us.

In Defense of Dunham and Kaling

Nothing gets me more riled up than people who hate on Lena Dunham and Mindy Kaling. Ever since the premieres of Girls and The Mindy Project, both female writers/directors/stars have been the target of incredibly nasty and sexist attacks from both the Twittersphere and esteemed critics. Quite frankly, it's appalling.

Now, you might ask yourself, Why do people hate these women so much? 

Put simply, Lena and Mindy defy traditional depictions of women in the mainstream media. They are not the skinny, perfect Barbie dolls we are used to seeing on our television screens, and they certainly don't resemble sitcom stars like Jennifer Aniston on Friends or Zooey Deschanel on New Girl. They are curvy and slightly overweight, and they resemble real women. Moreover, they never apologize for their bodies or attempt to hide their sexuality. Instead, they are both very frank in the way they depict their characters' sex lives and in the way they honestly discuss their characters' struggles with their weight and body image.

In particular, that Girls is on HBO allows Dunham the luxury of including explicit sex scenes in her series. Instead of being the sexless fat girl or fat best friend, Girls lets Lena be the protagonist, and it intimately explores Lena's romantic relationships and one night stands. Moreover, Girls is notorious for its frequent nudity, as Lena refuses to hide her body or be embarrassed by it. Rather, she fearlessly exposes herself (often from unflattering angles or in unflattering clothing), thus confronting the audience on their fears of real women's bodies and challenging mainstream depictions of women in the media. However, Lena's body weight is never the butt of the joke like with more overweight comedy actresses like Melissa McCarthy or Roseanne Barr. Unlike Melissa and Roseanne, Lena never adheres to the stereotype of the crass, over-the-top, ridiculous caricature of the fat lady, and Lena is never stripped of her sexuality or femininity. She is not afraid to be girly, to have boyfriends, or to have a sex life while she still challenges the typical prototype of the female TV star.

While The Mindy Project is a network sitcom on FOX and therefore unable to push boundaries as much as Girls does, Mindy's series is still incredibly groundbreaking due to the way it depicts female sexuality. Mindy frequently and openly talks about her sex life, constantly dates (and sleeps with) new boyfriends, and is unapologetically boy-crazy. This is the first and only network sitcom where an overweight woman of color is allowed to have desire and be desired. However, Mindy refuses to let herself be defined solely by her love life; she also runs an incredibly successful OBGYN practice and attended Columbia Medical School. Thus, she is both strong and girly, feminine and feminist; she can have her cake and eat it, too.

People are not only outraged by Lena and Mindy's "disgusting" nudity. They are frequently up in arms over the fact that Lena and Mindy sleep with men who are "are out of their league." This abhorrent and sexist opinion is particularly unfair due to the fact that it's an outrageous double standard. For instance, no one complains when schlubby George sleeps with gorgeous women in Seinfeld or when unconfident and nerdy Louis C.K. has a one-night stand with a supermodel in Louie. Somehow, dating "up" only seems to be a problem when overweight women are doing it. For example, viewers freaked out when Lena Dunham slept with Patrick Wilson's character, a handsome, rich doctor on Girls, and they were equally upset when Mindy finally started dating Chris Messina's handsome and charming character on The Mindy Project. It doesn't matter to audiences that both of these relationships develop organically and believably and are completely justified in each narrative. If the women are slightly overweight, they are not allowed to ever seduce a handsome man.

What is most appalling is that scholars and critics often share the public's misogynist criticisms of these shows. In a recent interview, Dunham was forced to defend her character's "unpleasant" nudity as an honest depiction of female nakedness. Moreover, Mindy Kaling receives constant criticism due to the fact that Mindy's boyfriends are not only too handsome but also too white; thus, her detractors imply that, being Indian, Mindy should only be permitted to date minorities.

Furthermore, lots of people complain that both Lena and Mindy's characters are entitled, annoying, and unlikable. This is perhaps the most frustrating criticism of all. We see complex, flawed male antiheroes on TV all the time--just think of Larry David on Curb Your Enthusiasm, Jerry Seinfeld on Seinfeld, Louis C.K. on Louie, James Gandolfini on The Sopranos, Jon Hamm on Mad Men, or Bryan Cranston on Breaking Bad. These male characters, some of whom are even guilty of murder, are beloved and praised for their complexity, while Lena and Mindy are criticized for being selfish and unrelatable. Critics and viewers alike should be praising Lena and Mindy for their nuanced, well-written, multi-dimensional female characters, but this is not the case. Judd Apatow, one of the producers of Girls, had an interesting quote addressing this unfounded criticism in a recent interview:

"Well, I think there's a normal human compassion for people's struggle to get through the day, get through life, get their shit together. You root for them to figure it out, but they make a lot of mistakes along the way, just like, I think, anybody you know in life. These aren't weird mistakes. Cheating on your boyfriend, experimenting with drugs, trying to figure out what kind of sex you like or what job you like. It's not really that shocking. They're not selling meth [like on Breaking Bad] or anything."

Apatow's quote hits the nail on the head. The characters in Girls as well as The Mindy Project are some of the most relatable, honest, well-rounded female characters I have ever witnessed on TV, and they perfectly capture the struggles of being a young woman today in such a funny, honest, and insightful way. Their characters are not perfect, but in my mind, they are still incredibly sympathetic and human. Unfortunately, because they are not supermodels, and because they are often crass, fight with friends, get angry, or make mistakes like all women do, most of the American public has written them off.

Finally, Mindy and Lena are amazing and inspiring women simply due to their fantastic sense of humor. Unfortunately, women still have to prove that they can be funny, and it is so refreshing to see two hit comedy series that are written, directed by, and starring hilarious women who can make you laugh so hard your stomach hurts. For that reason alone, men and women alike need to open their minds and give these smart, funny, unique and visionary women a chance.

And now, for my unrelated Feminist Movie/TV Recommendation of the week: Masters of Sex!

Lizzy Caplan is absolutely incredible in Showtime's series about legendary sex researchers Masters and Johnson. The show beautifully depicts Johnson's struggles to gain respect in the workplace, date, and raise a family while dealing with the harmful sexist attitudes of the 1960s.

Breaking Down the Best Actress Oscar Race

I spend a lot of time griping about the lack of compelling roles for women in TV and film, particularly during summer blockbuster season. However, the great thing about the fall and winter is that it's finally Oscar season, which means there will be more thoughtful and challenging films coming out! These are 10 highly anticipated female performances to check out in 2014: 

1. Rosamund Pike in Gone Girl: Rosamund Pike has gained the most coveted role of the year in David Fincher's upcoming thriller Gone Girl. Based on Gillian Flynn's bestselling novel, Gone Girl tells the story of a man (Ben Affleck) who is accused of killing his wife (Rosamund Pike). Without giving too much away, Rosamund Pike's character completely challenges male expectations of female behavior, and this is likely to be one of the most unique, brilliant, and twisted female performances of the year.

2. Reese Witherspoon in Wild: Over the past couple of years, Reese Witherspoon has managed to completely turn her career around. By ditching conventional romantic comedies, Reese has returned to her indie roots by starring in indies such as Mud in order to flex her acting chops. In a huge comeback role that could win her a second Oscar, she plays a woman who hikes the Pacific Coast Trail after years of heroin addiction, promiscuous behavior, and depression in this empowering true story. I saw the film at the Toronto International Film Festival (TIFF) and her performance is shockingly raw, honest, and inspiring.

3. Julianne Moore in Still Alice and Maps to the Stars: Without question, Julianne Moore is my favorite actress. She manages to switch effortlessly between both Hollywood and indie cinema and is always involved in the highest quality projects which feature compelling female roles. Finally, Julianne has a role that could win her a much deserved Oscar. In the film, she plays a 50-year-old linguistics professor diagnosed with early-onset Alzheimer's. The film is remarkable and heartbreaking to watch, and Julianne brings such nuance, intelligence, and vulnerability to what just might be her best performance yet. I caught the film at TIFF as well. In addition, Julianne won Best Actress at Cannes for her role in David Cronenberg's Maps to the Stars as a vapid Hollywood starlet. While the film is likely too dark to receive mainstream attention or awards buzz, her performance was hailed as one of the best of her career, and it is always incredibly exciting and refreshing to see Julianne push herself with such unique, strange, and challenging roles.

4. Marion Cotillard in 2 Days, 1 Night: Marion Cotillard returns to her roots in international cinema with this incredibly fierce role that earned her unanimous praise at Cannes. In the film (which I also caught at TIFF), she plays a working class woman suffering from severe depression in Belgium who must go door-to-door to each of her co-workers houses and beg them to give up their bonuses in order for her stay on as an employee. Please don't be deterred by the French subtitles and check out this remarkable, hyperrealistic, beautiful film with one of the most subtle and deeply moving performances I have seen in a while. Not only is Marion Cotillard in contention for an Oscar nomination, but the film is Belgium's submission for Best Foreign Language Film.

5. Amy Adams in Big Eyes: Amy Adams could finally win a much deserved Oscar in Big Eyes, which tells the true story of painter Margaret Keane, whose husband, played by Christoph Waltz, took credit for her famous paintings in the 1960s. Produced by the Weinstein Company and directed by the marvelous Tim Burton, this film is likely to receive tons of awards buzz and rave reviews. Not only is Amy Adams expected to dazzle (as always), but the film deals with important feminist subject matter in what appears to be a gripping and moving way.

6. Jessica Chastain in A Most Violent Year, Interstellar, and The Disappearance of Eleanor Rigby: Jessica Chastain, Hollywood's latest "it" girl, has 3 Oscar-worthy films coming out this year. The first, A Most Violent Year, is directed by J.C. Chandor. The plot, which involves a crime wave in New York, is being kept under wraps, but Chandor is known for getting masterful performances out of his actors (like Robert Redford's in last year's All Is Lost), and I am always eager to see what Jessica is up to next. Also, she is starring in Christopher Nolan's hotly anticipated sci-fi epic Interstellar. No details regarding the plot have been released, although it appears that she plays Matthew McConaughey's wife in the film which is likely to push the boundaries of Hollywood cinema and feature some dark and challenging performances. Finally, in The Disappearance of Eleanor Rigby, she plays a woman experiencing the highs and lows of her tumultuous marriage to her husband, played by James McAvoy. Her performance in this film is very naturalistic and incredibly touching, as she explores the loss and heartbreak of failed relationships.

7. Jennifer Aniston in Cake: Jennifer received standing ovations at TIFF for her dark and challenging portrayal of a woman suffering from chronic pain in Cake. Although the film has yet to be acquired for distribution, it is likely to get a winter release. In the film, Aniston does not wear any makeup and has scars across her face. Unafraid to push herself and delve into a role that is messy, honest, and demanding, Aniston is better than ever and proves that she is more than just a pretty face, a tabloid celebrity, or Rachel from Friends. She's a force to be reckoned with.

8. Keira Knightley in Laggies and The Imitation Game: Keira Knightley has two films to look out for this Oscar season. First, she stars in Laggies, a critically acclaimed dramedy from both Sundance and Toronto in which she plays a woman going through a life crisis who begins hanging out with a group of high school girls. The film (which is also directed by prolific female director Lynn Shelton!) is supposed to be hilarious, heartbreaking, and incredibly insightful, and it brings a much needed female perspective to the male-dominated indie films of 2014 thus far. Keira Knightley is also getting lots of buzz for her role in the Benedict Cumberbatch-starrer The Imitation Game, in which she plays a female cryptanalyst and codebreaker (already an exciting, unique part for a woman). Keira is supposed to be incredible in the film, where she does more than predictably play the love interest to Benedict Cumberbatch as one might initially expect.

9. Meryl Streep in Into the Woods: As always, Meryl is at it again, and she's singing, too! She plays an evil witch in Disney's star-studded musical. Based on the trailer, Meryl has used her chameleon powers once again and truly transformed herself into such a grotesque and frightening character without ever going overboard and simply chewing scenery. While I wish that more women Meryl's age got the acting opportunities she does, it is always exciting and refreshing to see Meryl challenge herself with such a diverse array of parts in both Hollywood and independent cinema.

10. Hilary Swank in The Homesman: Hilary could three-peat with her role in Tommy Lee Jones' directorial debut as a pioneer woman who must escort three insane women from Nebraska to Iowa. Based on positive reviews at Cannes and the compelling trailer, it appears that Hilary has once again sunk her teeth into an exciting, transformative role. While I feel that recent roles of hers have been a bit over-the-top and "Oscar bait-y," it is very refreshing to see her back in top form with such an intelligent and powerful role.

Honorable Mentions: Felicity Jones in The Theory of Everything, Mia Wasikowska in Tracks

Well, that just about sums up my top 10 Best Actress predictions. Please get excited for these films, as strong female roles like these are incredibly hard to come by, and are typically only found during the small time frame of Oscar season each year. Also, please note that there are many exciting female performances of 2014 not listed here, such as Scarlett Johansson in avant garde masterpiece Under the Skin or Jennifer Lawrence in mega-blockbuster The Hunger Games: Mockingjay--Part 1. Those roles are incredibly significant and no less valid than those I have listed above, but, practically speaking, will not be considered awards contenders. (I suppose that's a rant for another day.) Overall, while there is plenty of bias in determining Oscar nominations each year, all of the actresses considered in contention for Best Actress who I listed above should still be celebrated. They all tend to make smart, inspired career choices and refuse to be typecast as love interests or nagging wives, and their work should be applauded and recognized as a result. Thus, it is incredibly important to spread the word about and attend their upcoming films to ensure that these female-driven films do well at the box office (which will send a loud and clear message to Hollywood distributors) and garner each actress the acclaim that she deserves.

And, totally unrelated, check out this week's recommendation!

FEMINIST FILM/TV RECOMMENDATION OF THE WEEK: TOP OF THE LAKE

Please check out Jane Campion's feminist masterpiece starring Elisabeth Moss. The miniseries is a thriller/detective show as well as a feminist examination of gender politics taking place in rural Australia. It's The Silence of the Lambs meets Broadchurch meets The Piano, and absolutely worth checking out on Netflix.

The Bechdel vs. Mako Mori Tests

Simply put, a film passes the Bechdel Test, which is a feminist test regarding the portrayal of women in film, if:

1. It has at least 2 (named) women in it,
2. who talk to each other,
3. about something other than a man.

I love the shocking simplicity of this test, because it seems so easy to pass. But the sad truth is that most films don't even come close. Consider this year's summer blockbusters such as Transformers 4, X-Men: Days of Future Past, Dawn of the Planet of the Apes, The Amazing Spider-Man 2, and Godzilla, all of which fail the test. Clearly, the Bechdel Test does a great job exposing the lack of female-friendly films. 

However, as a blanket guide to determining whether or not a film is feminist, the test is failing women. For instance, Gravity, one of the highest grossing films of 2013, is one of the only studio blockbusters with a female lead, yet it fails the test because there is only one female character in the movie. In my opinion, Gravity is a major feminist achievement, as Sandra Bullock's character is strong, complex, and nuanced, and possesses her own character arc throughout the film. Unfortunately, the Bechdel Test doesn't see it that way. Other seemingly progressive films with one strong female character such as The Silence of the Lambs and The Girl with the Dragon Tattoo also fail the test. 

In response to the shortcomings of the Bechdel Test, the Mako Mori Test, named after a beloved female character in Pacific Rim (which failed to pass the Bechdel Test), has recently surfaced. A movie passes the Mako Mori Test if:

1. It has at least 1 female character
2. who gets her own narrative arc
3. that is not about supporting a man's story.

Obviously, Gravity passes the Mako Mori Test with flying colors; as such, I think the Mako Mori Test does a better job determining if a film features strong female characters who do not simply exist as a love interest. After all, the disturbingly problematic The Other Woman passes the Bechdel Test because Leslie Mann and Nicki Minaj have a short conversation about "working too hard," even though the entire plot revolves around a man and the film clearly fails the Mako Mori Test. 

Unfortunately, the Mako Mori Test fails to account for the lack of compelling roles for women in most Hollywood films when compared to the number of roles available to males. Is it really enough that Evangeline Lily's character in The Hobbit, Emily Blunt's character in Edge of Tomorrow and Scarlett Johansson's character in The Avengers have their own character arcs when there are literally dozens of strong male leads in each film and they are the only females? 

Therefore, it's important to remember that neither the Bechdel Test nor the Mako Mori Test definitively determine if a film is feminist. It's up to each viewer to critically examine each film, because there are some progressive films that fail the tests and problematic ones that don't. In my opinion, a film should ideally pass the Mako Mori test but also the first rule of the Bechdel Test, with the exception of films like Gravity where the plot makes that impossible, to typically be considered feminist. (Kill Bill Vol. 1 & 2, Girls, Frozen, Thelma and Louise, and Orange is the New Black all satisfy this requirement.) 

Overall, while both tests are imperfect, they are effective because they draw attention to the lack of compelling female characters who do not revolve around men in film in a straightforward way.

FEMINIST MOVIE/TV RECOMMENDATION OF THE WEEK: BLUE IS THE WARMEST COLOR

Per request, I will briefly introduce each of my weekly recommendations, but I will try to keep my recommendations separate from whatever topic I have written about so that I am not constrained each week. Blue is the Warmest Color is controversial because many feminists feel that the actresses are objectified in the film's explicit sex scenes, but I encourage everyone to watch it and decide for themselves. Personally, while the sex scenes are certainly erotic, I find the film liberating in the way it openly and non-judgmentally portrays female sexuality, which is rarely highlighted in film at all. Also, the film is not just about sex, but about the experiences of a young woman falling in love, growing up, and ultimately discovering herself. The female characters are some of the strongest, most realistic and relatable women ever captured on screen. 

The Representation of Violence to Women: Hitchcock's "Frenzy"

Below is an annotated source that will be cited in a paper I am writing. The paper will analyze the debate among scholars regarding whether or not Alfred Hitchcock's films are misogynist:

Thomas Allen, Jeanne. "The Representation of Violence to Women: Hitchcock's "Frenzy"" Film Quarterly 38.3 (1985): 30-38. JSTOR. Web. 3 Sept. 2014.

In his article, Allen provides an in-depth analysis of the troubling misogynistic views present in Alfred Hitchcock's Frenzy (1972). In particular, Allen breaks down the film's infamous rape scene in order to illustrate how the film exploits the female body, eroticizes rape, and subtly suggests that the victim is deserving of her attack. Thus, Allen's shot-by-shot analysis suggests that the film offers voyeuristic pleasure at sexual violence against women. Allen also demonstrates how, beyond physical violence towards women, the characterization of Hitchcock's female characters as overbearing and hostile only reinforces the troubling schoolboy fear of female assertiveness and strength. Finally, Allen condemns Hitchcock's use of black humor throughout Frenzy,as Hitchcock's choice to make light of women who have been abused and defiled only further degrades the female body and encourages violence against women. 

Allen wisely uses his extensive filmmaking knowledge to illustrate his points. He clearly and eloquently explains how Hitchcock's camera work, lighting, and mise-en-scene all contribute to the objectification of women and force the spectator to identify with the male patriarchy. Also, Allen's thorough research on critics' and the public's reception of Frenzy at the time of its release only further enhances this detailed article by explaining the film's overwhelming popularity and subsequent critical backlash. Allen's apt comparisons to other Hitchcock films such as Psycho (1960) and Vertigo (1958) also elevate his article by illustrating larger patterns of misogyny evident in Hitchcock's oeuvre.

This article would serve as a wonderful resource to anyone writing a paper analyzing violence against women in film, exploitation cinema, or Hitchcock's body of work.

Hello, Film Geeks!

I am a USC film student and just about the biggest film and TV lover in the world. I usually see three movies per week in theaters and watch TV religiously. I obsess over Cannes, Sundance, the Oscars, and the Emmys, and write detailed rankings and reviews of every film I see each year. In short, I’m a film nerd. It is my absolute goal to become the Chairman/CEO of a major film studio or TV network in my lifetime. And I’m also female.

As a woman, I often feel overwhelmed knowing that the odds are stacked against me. Just this summer, I interned at a major talent agency where half of the assistants are female. (A good sign, I thought!) However, at the top, only one of the 12 partners is a woman. In fact, at every one of my internships, the CEO of the company has been male.

The findings of the Women’s Media Center’s 2014 report on women in film were especially troubling:  

• Women represent 28.8% of speaking characters in top grossing films.
• Only 6% of the top 100 films hired a balanced cast of women and men.
• In the 250 top-grossing films of 2013, women accounted for only 16% of all directors, EPs, producers, writers, cinematographers, and editors.

It’s depressing.

Even worse, perhaps as a result of the lack of female executives, filmmakers, and writers, I find it difficult to relate to female characters in most of my favorite films and TV shows. Women are typically love interests, manic pixie dream girls, nagging wives, rape victims, or that quirky Zooey Deschanel-type who pretends to be relatable while clumsily falling over every two seconds. For every actress like Julianne Moore, Jessica Chastain, or Meryl Streep, there’s Sofia Vergara spinning around on a pedestal at the Emmys getting everyone to stare at her ass and then telling anyone who’s offended to lighten up.

My favorite directors (The Coens, Scorsese, Paul Thomas Anderson, Haneke, Tarantino), actors (Fassbender, Tom Hardy, Daniel Day-Lewis), and producers (The Weinsteins, Scott Rudin) are ALL male. And my favorite TV shows (Breaking Bad, Mad Men, The Sopranos, The Wire) star complex male antiheroes, while women only get the supporting roles in these great shows.

I’m sick of it. Even in reality TV (which I won’t even call a guilty pleasure, because I feel no shame in watching it), it’s harder for women to win competition shows like Survivor and Big Brother. Almost all of those winners are male due to unfair casting and challenges. It’s rigged.

So I’m writing this blog to vent and also to educate people. Hopefully, through my rambling, I can connect with like-minded people who also want this industry to improve its problematic portrayal of women in film and TV as well as the problematic lack of females working behind-the-scenes. Also, I hope to enlighten people unaware of these problems already and get them thinking about and engaged in the topic of women in film. Only through education will audiences demand that Hollywood change its practices.

I’ll also try to change it up every week. One week, I may want to analyze the role of women in a foreign film I’m obsessed with (my greatest passion will always be indie film), and the next week I may cover a studio blockbuster. One week, I may discuss a critically acclaimed series like True Detective from a feminist perspective, and the next I’ll examine The Real Housewives. I also want to focus on behind-the-scenes industry news (The Hollywood Reporteris my Bible), Oscar season (which officially starts this fall!), the Bechdel test, sexist movie advertising, and much more, so that I can analyze women in Hollywood in a variety of ways. 

And while there’s a lot for female film fans and aspiring female filmmakers to be upset about, there’s also a lot to celebrate. So, I will try to dedicate many of my blog posts to celebrating progress women are making in the industry (just think of the great work Megan Ellison, Sofia Coppola, Lena Dunham, Tina Fey, Amy Schumer, and Jane Campion are doing), as well as venting about what needs to improve.

Thanks for letting me ramble and I look forward to continuing my rambling as well as clarifying this crazy outpouring of emotion, name dropping, and film references over the next few months.

Finally, to quote the great Roger Ebert, I’ll see you at the movies! 

FEMINIST MOVIE/TV RECOMMENDATION OF THE WEEK: ORPHAN BLACK