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I have been attending the AFI film festival and have seen three films with female leads and have noticed a major difference between movies from other countries and those made in the U.S. when it comes to how we treat our actresses.
In the U.S., Marion Cottilard is made to play second fiddle to Johnny Depp, Daniel Day Lewis and Leonard DiCaprio, but on her home continent, two of the top European filmmakers actually built a whole movie around her.
In the U.S., Juliet Binoche is relegated to second tier status after a gigantic lizard goes on the rampage and Kristin Stewart is stuck in ridiculous teen angst films and even more ridiculous, over the top Hollywood blockbusters, but in Europe the two are allowed to play opposite each other in roles with depths most American actresses only dream of.
And in the U.S., when it comes to a study of a marriage, we have the misogynistic Gone Girl, with a psychotic wife who will do anything to punish her husband, even set him up for her own murder (while killing herself, no less), while from Israel, we have a film in which a woman desperately tries to get a divorce from a court that is almost determined to keep her in her place and not let her have it.
Prevailing wisdom is that this is one of the weakest years for actresses and the air is filled with panic as voters try to find five females to fill the slots for the Oscar noms for this year.
But prevailing wisdom always seems to leave out the pertinent proviso that this is really only true for the U.S. Continue reading