Hollywood has once again proven its anti-women.
Last year showcased an abundance of remarkable films directed by women. The notable contributions of filmmakers like Greta Gerwig with the highly anticipated Barbie, Emerald Fennell with the aesthetic masterpiece Saltburn, Celine Song with the romantic drama Past Lives, and the return of Sofia Coppola with the biopic Priscilla reflected the enduring influence of women in the traditionally male-dominated realm of cinema.
However, the illusion of inclusivity crumbled with the recent unveiling of this year’s Oscar nominations.
Despite the colossal success of Barbie, Gerwig found herself conspicuously absent from the Best Director nominations. Her directorial prowess in bringing Barbie to life had not only garnered commercial success, but earned critical acclaim for its innovation and storytelling.
The film’s impact on both commercial and artistic fronts made Gerwig’s exclusion more perplexing, leaving audiences and industry insiders questioning the basis for such oversight.
Ryan Gosling, nominated for Best Supporting Actor for his role as Ken, highlighted the integral role played by both Gerwig and Robbie in the success of Barbie. In a statement following the Oscar nominations announcement, Gosling stated, “There is no Ken without Barbie, and there is no Barbie movie without Greta Gerwig and Margot Robbie.”
Gerwig and Robbie were two major contenders heading into this year’s nominations. Though both received Oscar nominations for Barbie, with Robbie nominated for producer in the Best Picture category with her husband, Tom Ackerley, and Gerwig for Best Adapted Screenplay alongside her husband, Noah Baumbach, their work was only deemed worthy of recognition when bolstered by the presence of their male partners.
Though still receiving nominations, the glaring omissions of both artists from the Actress and Director categories became the focal point of discussions surrounding the day’s most noteworthy snubs.
Expressing his disappointment, Gosling emphasized the indispensable role Gerwig and Robbie played in the film, stating, “No recognition would be possible for anyone on the film without their talent, grit, and genius. To say that I’m disappointed they are not nominated in their respective categories would be an understatement.”
Gosling went on to highlight the duo’s remarkable achievements, acknowledging their ability to evoke laughter, tug at heartstrings, challenge cultural norms, and etch their names into the annals of history.
Despite facing odds with unconventional characters, Gosling emphasized how Gerwig and Robbie’s work should stand shoulder to shoulder with other deserving nominees.
Gerwig and Robbie, however, weren’t the only victims of this apparent gender bias. The talented Celine Song, whose work on Past Lives earned universal acclaim and nominations from prestigious awards such as the Golden Globes, Independent Spirit Awards, and Critics’ Choice Awards, found herself excluded from the Best Director category.
Past Lives was arguably one of the better films this year and showcased Song’s ability to craft compelling narratives and capture the intricacies of the human experience. The film’s snub in the Best Director category seems incongruent with its overall recognition, leaving many perplexed and utterly disappointed. Song’s absence reflects a broader pattern of sidelining women in creative roles, despite their undeniable talent and contributions to the industry.
The omission of these films, and more importantly the talented women involved both behind and in front of the camera, from the Oscar’s prestigious yet historically male-dominated Best Director category is sadly unsurprising. These films, in their unique ways, delved into the intricacies of the female experience.
They’re movies made about women, for women, and by women. Yet, neither of them is getting the recognition they deserve.
Sadly, this isn’t the first nor last time women have been snubbed in this category. Only eight women have ever been nominated for the Oscar for Best Director, including Justine Triet, who is nominated this year for Anatomy of a Fall.
Other nominees include Lina Wertmüller, Sofia Coppola, Emerald Fennell, and Greta Gerwig for Lady Bird. Only three women have ever won the award: Kathryn Bigelow (The Hurt Locker), Chloé Zhao (Nomadland), and Jane Campion (The Power of the Dog).
The trend of sidelining women directors isn’t unique to this year’s Oscars. Films like Women Talking in 2023, Selma in 2015, and The Prince of Tides in 1992 experienced similar Best Picture nominations, yet their directors, Sarah Polley, Ava DuVernay, and most notably Barbra Streisand, found themselves excluded from the directorial category.
Despite Gerwig’s ground-breaking work as the director of Barbie and Robbie’s influential role as a producer, their recognition only came in the shadow of their husbands. This pattern not only reinforces historical stereotypes of women’s accomplishments being considered second to men’s, but also reflects a persistent reluctance within the industry to accord women their rightful place in the spotlight. Their nominations alongside their husbands, despite their undeniable individual contributions, is a stark reminder that even in the 21st century, women continue to face systemic challenges in having their work evaluated on its own merit.
Tags
barbie, Hollywood, Movies, Oscars
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