‘In a film that invokes gender in its very title, his decision not to focus on the way women have been excluded by the film industry, and the abuse and misogyny exposed by the #MeToo era, will be brought into question’ The active choice not to address this will no doubt generate a lively debate, but what isn’t in doubt is that Cousins has shone an overdue spotlight on myriad long-neglected films. But can we separate that from the dynamics of the film industry? Moreover, while he does examine issues of sexism and the female experience in the films selected, the fact remains they come to us through the lens of a man. Sharmila Tagore is another narrator (Photo: BFI Film still)Ĭousins’ focus is on the craft, explored with rigour, passion and knowledge. In a film that invokes gender in its very title, his decision not to focus on the way women have been excluded by the film industry, and the abuse and misogyny exposed by the #MeToo era, will be brought into question. We might not hear Cousins’ voice, but his passion for the subject rings through the well-researched script that draws on nearly 200 female film-makers, ranging from the familiar, such as Ava DuVernay and Kathryn Bigelow, to less well-known names such as Japanese actress-turned-director Kinuyo Tanaka and Senegalese film-maker Safi Faye. Cousins’ gentle Northern Irish brogue no longer narrates the action – he has replaced himself with the likes of Tilda Swinton, Jane Fonda, Adjoa Andoh, Sharmila Tagore and Kerry Fox (at least in the first 20 chapters), who guide us on a journey that shifts from clip to clip, continent to continent.
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