The Female Gaze: Why We Need More Films Directed/Written by Women

It’s been decades now since more and more women have felt free to challenge patriarchal and sexist views that dictate our society, which has brought to light the often implicit ways in which people’s mindsets are shaped by those views. It was not until a few years ago, however, that such defiance has taken a brand new form, enhanced, emphasized and bolder than ever, thanks to social media and our generation’s courage and tenacity. Gen Z has been able to create an environment that supports denouncing and fighting against moral issues such as sexism, racism and body shaming. While many men feel attacked, or even discriminated against by the recent backlash against the patriarchy present on social media, many fail to see that women’s views do not generalize male behavior, but rather target the societal structures that cause such behavior. One of those views consists of highlighting and denouncing “the male gaze”. This term is mostly used in visual arts or literature, more specifically when analyzing a text through feminist theory. In this very specific context, people have adopted the term to describe any male or patriarchal views that exist within society, especially in relation to their effect on women. An alternative to this view is the “female gaze”. 

What is the female gaze?

First, the female gaze, in comparison to the male gaze, is a term that is strictly used in film, more specifically when analyzing a film through feminist film theory. It is a response to the male gaze, and usually refers to the perspective of a female filmmaker, screenwriter, director or producer. The female gaze shapes the film in a way that is different from a male view. In short, the female gaze is everything that the male gaze is not: it doesn’t objectify the female form, it doesn’t represent female characters through bland stereotypes, it isn’t solely aimed at men and for male sexual fantasy, and it does not attribute all the power and control to men in storytelling. For instance, one good example that highlights the difference between the male and female gaze is the contrast between Clint Eastwood and Sofia Coppola’s versions of The Beguiled: Coppola found more resonance and topicality by retelling the story from a female perspective.

While, as previously mentioned, the term is strictly used in film, people have taken the phrase female gaze as a counter to the male gaze trend, and portray things the way they would be if life was “written” by women; that is, the world if it wasn’t dominated by male views. However, many people don’t fully understand the concept and start characterizing women through a girly and soft aesthetic, which essentially does the opposite of trend’s purpose and promotes yet another stereotype. 

To give you a clearer idea of what the female gaze is, it is essential to examine it in its correct context: cinema. I will look at 5 films directed/written by women, and highlight what makes them stand out so much. 

Cleo from 5 to 7, 1962, Agnes Varda

One of my all-time favorite films directed by a woman, this film is revolutionary in many aspects: its use of real time, the presence of the first characteristics of the French New Wave, and its feminist plot. Everything about this film is ahead of its time. Varda describes it as “the portrait of a woman painted onto a documentary about Paris”. The story follows Cleo, a famous singer, and hypochondriac, who becomes increasingly worried that she might have cancer while waiting for her test results after a consultation with a doctor. Not only does Varda master the use of camera movements, sound, and other technical aspects of the movie, she also manages to implicitly deliver a strong message about society relating to idealised female beauty, expectations of women, and social definitions of women. She provides depth to Cleo’s character while emphasizing her independence. Varda also actively questions society’s effect on women, as reflected in Cleo’s obsession with her appearance and people’s views of her. 

Jeanne Dielman, 1975, Chantal Akerman

Another masterpiece in feminist cinema, Jeanne Dielman is a must-see film is you are interested in the female gaze and female filmmakers. It’s not the easiest watch, but it’s worth it.  Over 3 hours long, the majority of the film is dominated by a static camera observing Jeanne completing domestic chores such as cleaning, cooking, shopping. What makes it so special is how through her haunting and compelling portrayal of Jeanne’s monotony, Akerman is able to emphasize how tedious traditionally feminine work is. As the director said: “the length is also part of the commentary”. The film's narrative subject and structure were radical, forcing viewers to experience the passage of time, as well as see life through a traditional female perspective. 

Morvern Callar, 2002, Lynne Ramsay

Morvern Callar is a psychological drama film directed by Lynne Ramsay. The screenplay was co-written by Ramsay and Liana Dognini, and is based on the 1995 novel of the same name by Alan Warner.  The plot follows the life of Morvern, a supermarket worker who, after her beloved boyfriend's suicide, moves to Scotland with her best friend while still suffering from her loss. Unlike the two previous films, this movie doesn’t touch on feminist ideaologies or try to convey a specific message about women in society. Despite this, the story would have been very different if it was told by a man. It’s not always obvious, even Lynn Ramsay said that she “can't really define what she brings to films as a woman”. What makes her stand out is her existence in the industry as a bold female auteur who doesn’t shy away from darker plotlines and genres. And of course, like most, if not all female filmmakers, Ramsay’s female characters have depth and aren’t objectified or defined by stereotypes. 

Girlhood, 2014, Céline Sciamma

You may know Sciamma from her recent film, Portrait of a Lady on Fire, which was a huge success with both audiences and critics, but she has worked on many other films prior to this, namely, Girlhood in 2014. The film follows the story of a girl who joins a gang, and reinvents herself, gaining a new sense of self-confidence in the process. By setting the film in the lower-class suburbs of France, Sciamma highlights another side of the typical “French girls” that are so loved and marketed around the rest of the world. Girlhood not only revolves around women, giving insights into female perspectives but is also a film with an all-black cast, representing a level of attention for POC characters that aren’t usually displayed in cinema. Sciamma challenges the stereotype of (French) femininity and isn’t scared to paint an authentic and accurate portrait of teenage girls. She says that she wanted to “give a fuller picture of what it means to be a woman in modern-day France, and of the multitude of identities that exist”. 

American Honey, 2016, Andrea Arnold

I couldn't end this list without an Andrea Arnold film. American Honey follows a teenage girl from a troubled home, who joins a traveling sales crew who drive across the American midwest selling magazine subscriptions door to door. The film does an incredible job at portraying the harsh reality of the situations that are shown: the dialogue was mostly unscripted and many of the actors are real people taken from the streets, which makes the overall feeling of the film very authentic and raw. American Honey is the perfect example to examine the female gaze, more specifically the representation of how it feels to be the object of the male gaze, and how the female protagonist takes control of that gaze. Arnold’s portrayal of teenagehood avoids glamorizing poor American youth and other aspects of the protagonist’s life such as her sexual awakening, and her first encounters with adulthood and money, which makes the film refreshing and frank compared to what we are used to seeing on screen and the Hollywood norms.