All articles tagged with #women in film
At Venice's jury press conference, Maggie Gyllenhaal argued that films are fundamentally political and can foster empathy, while decrying a systemic lack of financing for women-directed projects and highlighting the persistent underrepresentation of women in competition.
In a new Empire interview, Saoirse Ronan says she’s 'dead serious' about playing a Bond villain and wants to go dark, praising the idea of a young female villain who channels anger in a dramatic way. The search for the next 007 hasn’t named a winner yet, and Ronan has voiced similar interest before (Vanity Fair 2024).
At Locarno, Zoe Saldaña criticized press Q&As that disproportionately ask political questions of women and people of color, calling it an 'incredibly limiting' double standard that forces marginalized actors to prove their craft while the conversation centers on identity. She recalled instances after Oscar wins and emphasized wanting to discuss acting craft. Saldaña also stars in Lioness season 3 on Paramount+ and attended Locarno to discuss the craft and inclusivity in film.
Devyn Dalton, a 35-year-old stuntwoman who is 4ft 6in tall, doubled for Matt Damon in Christopher Nolan’s The Odyssey, notably in a scene with Laestrygonians where giants tower over the crew. Damon praised her arms as “the greatest arms I’ve ever seen,” highlighting the impact of a dedicated stunt performer. Dalton trained in muay thai, jiu-jitsu, dance, yoga and strength work, landed the role through industry networks rather than open casting, and filmed in Scotland after a long prep process. She emphasizes safety and preparation in stunt work, hopes for more recognition of women in the field, and aspires to lead her own project in the future.
Devyn Dalton, a 4-foot-5 stuntwoman, doubles for Matt Damon in The Odyssey, handling motion capture, combat and physically demanding scenes. She built her career from scratch through relentless training and a reputation for reliability, and Damon's public praise highlights growing recognition of stuntwomen and the vital, demanding work behind blockbuster cinema.
Marcia Lucas, Oscar-winning editor who helped shape Star Wars and was a pioneer among New Hollywood women, has died at 80 from metastatic cancer in California. She cut THX 1138, American Graffiti, and Star Wars (earning the 1978 Oscar with Paul Hirsch and Richard Chew), and helped determine pivotal moments like Obi-Wan’s death and the film’s emotional throughline, while later influencing Raiders of the Lost Ark. Her work extended to Scorsese’s Alice Doesn’t Live Here Anymore and Taxi Driver, and she remained a respected, warm presence in the industry; she is survived by her daughters Amanda Lucas and Amy Soper.
At a Cannes talk with Variety, Julianne Moore discussed her decades-long advocacy for women’s representation, saying she’s become pickier about roles, avoids films with explosions or excessive gunplay, and emphasizes choosing projects with genuine emotion, while praising Meryl Streep as an inspiration and calling for gradual, collective change in Hollywood.
Nicole Kidman shared at HISTORYTalks 2026 that she’s training to become a death doula, describing helping people and families in final moments as beautiful and important, a calling she’s pursuing after learning of her mother’s death in 2024. She also reflected on her producing journey, her move to Nashville, and her ongoing commitment to increasing opportunities for women in Hollywood and centering female voices in leadership roles.
Johansson says the early 2000s were a harsh time for young actresses, with many being pulled apart for their appearance and few roles for women her age, leading to pigeonholing into archetypes; she found stage work as a counterbalance and notes that by 2026 there are more empowering, varied roles than in her youth.
Scarlett Johansson, a two-time Oscar nominee, says she was heavily pigeon-holed in the early 2000s for her looks, describing that era as harsh and socially acceptable to reduce women to archetypes like bombshells or the “other woman.” She notes that roles for women have become more empowering in recent years and points to upcoming work, including James Gray’s Paper Tiger, as part of the industry’s shift away from slim pickings for young actresses.
Scarlett Johansson says the early 2000s were a harsh time for young actresses, with looks often dictating roles and women being pigeonholed as bombshells or the other woman; she found refuge in New York theater, learned to wait for the right roles, and notes that by 2026 there are more empowering opportunities for women in film.
Autumn Durald Arkapaw becomes the first woman to win the Oscar for cinematography for the film Sinners at the 2026 Academy Awards, marking a historic milestone in the industry.
Recent films center inept male leads while surrounding them with decisive, capable women, suggesting a shift in cinema’s gender dynamics. Movies like The Mastermind, It Was Just an Accident, and One Battle After Another place women in guiding, problem-solving roles, with male protagonists often unable to act or navigate crises, reflecting broader political and social contexts and highlighting a widespread archetype where the female characters drive the plot.
Kristen Stewart, as she promotes her directorial debut, passionately speaks out about the ongoing gender inequality in Hollywood, highlighting the challenges women face in filmmaking, the backsliding in progress, and the need for greater opportunities and representation for women in the industry.
Kristen Stewart expressed her frustration that progress for women filmmakers in Hollywood has regressed post-MeToo, highlighting the decline in films directed by women and criticizing the industry's ongoing gender inequality and silencing of women's stories.