Well I’ve had my lie down and, really, I’d like to change the subject, but some things still have me a bit baffled.

  • Why does the number of women going to film schools nearly equal that of men if women are so disinterested in being filmmakers?
  • Why is it that anyone who has been lucky enough to make a film will tell you, as I would, that it is the most exciting, most influential, most frustrating position they could dream of being in but that they would give their eye teeth to do it again and again. 
  • Why is it then that only 5% of working directors in Hollywood are women?
  • Why has the Cannes festival steering committee had only male presidents since its inception. 
  • Why is the Oscars voting academy still 77% male?
  • Why did distinguished chair of the Hay Literary festival and producer of War Horse, Revel Guest tells me after a long reluctant pause that the film business is fair and square a boys club. 

Well perhaps the French feminist collection Le Barbe were right to say that “men are fond of depth in women, but only in their cleavage." That’s a relief, I would hate to think it was lack of talent or spine that was stopping us. But then our boys aren’t adverse to a bit of cleavage either and in 15 years I have never felt misogyny to be an obstacle to progress or practice as a filmmaker here in Australia.  In fact I have felt, dare I say, if anything, an active encouragement because I was a woman. A recognition that men and woman are different and that, despite a woman’s leaning towards niche rather than the more commercial genres or markets, their voices are worth hearing.

But what is it about a woman’s voice that’s worth hearing and the question is does the female perspective really offer anything that the male perspective cannot?  I mean it’s not as if we lack female driven stories with strong female archetypes, written and directed, often brilliantly, by men like John Schlesinger’s Far From The Madding Crowd, Ang Lee’s Sense and Sensibility, Elia Kazan’s A Streetcar Named Desire, Jason Reitman’s Juno. Really other then the old bugbear of equal opportunity for a few would be/could be female directors out there does a woman’s way of looking at and receiving the world really add much to our collective culture or indeed to our humanity? 

Bear with me; I may wander off course to delight in purely visceral paths, I may retrace my steps to bask in the aliveness of Gaia, goddess of mother earth instead of plodding through some second act.  I may hang out some white sheets or release butterflies and indulge in their aimless beauty. I will chase whispers of psychological meaning and worry their social underpinnings. And, in the end, I may come back to the beginning empty handed, the journey or the unveiling of some simple emotional truth the prize. But perhaps worth more than all the special powers of the Holy Grail or all the treasure of the Sierra Madre.

I wish. Truth is, as a film-maker trying to grab a piece of the action, I too am much more likely to follow the timeless linear path of the hero’s journey, a path of quests and crossing thresholds and tests with allies and enemies, of supreme ordeals, of resurrections and corporeal prizes, than my own. I understand. I too was baffled and sometimes impatient when I first stumbled across the heroine’s journey and I don’t necessarily mean a female protagonist although of course they often are. Lynne Ramsey’s Morvern Callar, Karin Adler’s Under the Skin, Jane Campion’s Sweetie and Liliana Cavani’s Night Porter, confused me. They thwarted my expectations of plot, of timing and of recognizable cinematic archetypes but, slowly, I began to recognize how to receive them. 

Sometimes now, with startling affinity, I am midway through a movie (I often don’t look at front credits) and know, just know that it is written or directed by a woman.  Sometimes I am wrong, as I was with Sean Durkin’s wonderful Martha Marcy May Marlene or Drake Doremus’s Like Crazy, so I can not entirely lay claim to gender exclusivity but, nonetheless all these films boast very female ways of seeing the world.  One that I, for one, now wholly enjoy, seek out and, as a filmmaker am emboldened and inspired by.  Of course you don’t have to be female to appreciate this sensibility in the same way you don’t have to be male to appreciate Tarantino, Christopher Nolan or David Fincher but perhaps our absence on the world stage of film means that too many committees, selectors or critics aren’t quite attuned or supportive of this particular voice yet.

Female writer/directors who can hear and obey their true instinctive female narratives are rare and brave, some are deaf to it or have reluctantly compromised to stay in the game, while others think the whole concept of being creatively different is a load of baloney. I’m glad I’m not one of them because otherwise I’d have no choice but to accept the claim that we are either crap at making films, sexist victims or too daunted by the difficulties and demands of the career to want to be in it.
Recommended Woman’s films
An Angel At My Table -  Jane Campion
Rain -  Christine Jeffs
Head On -  Ana Kokkinos
Morvern Callar -  Lynne Ramsey
Red Road - Andrea Arnold
Fish Tank, - Andrea Arnold
Under the Skin -  Karin Adler
Elles -  Malgorzata Szumowska
The Taste of Others - Agnes Jaoui
Somersault - Cate Shortland
Winter’s Bone - Debra Granik 
Away From Her - Sarah Polley
City of God -  Katia Lund
High Tide -  Gillian Armstrong
Nowhere Boy -  Sam Taylor Wood
Nowhere in Africa - Caroline Link
Lost in Translation - Sofia Coppola
Proof - Jocelyn Moorhouse


In her former life as an actress, Rachel Ward was the recipient of several international drama awards and nominations, which includes two Golden Globe nods.   Today Rachel focuses her experience and knowledge of film making into writing and directing.  She won the Australian Critic’s Circle Award for two of her short films, The Big House and Martha’s New Coat.  In 2008, Rachel adapted and directed, BEAUTIFUL KATE, from the novel by American author, Newton Thornburg.

Reprinted with permission by the author.