It was seen as a job for the sons. Thats converting thanks to the likes of Ava DuVernay, Patty Jenkins and Claire Denis being given opportunities to oversee big-budget productions
Critical reactions to Ava DuVernay’s A Wrinkle in Time may have been mixed, but there’s no denying it is a cinema landmark. DuVernay is not just the first girl of colour to steer a $100 m( PS72m) movie, but a member of a exceedingly exclusive sorority- female administrators of big-budget science fiction.
It is sobering be recognised that Kathryn Bigelow’s $42 m sci-fi noir Strange Days was exhausted almost a quarter of a century earlier. It was a echoing bust, which no doubt persuaded studios that maidens are not permitted to direct the genre at all. Since then, we have also had Cloud Atlas and Jupiter Ascending from the Wachowskis. But one can’t help wondering if, back in 1999, Warner Bros would have entrusted The Matrix’s $60 m budget to got a couple of relative unknowns if they had been called Lilly and Lana, instead of Larry and Andy.
The next high-profile sci-fi film directed by a woman will be Claire Denis’ first English-language film, High Life, starring Robert Pattinson and Juliette Binoche on a spaceship. But Denis is French, and a 2014 investigation found that nearly a quarter of France’s film directors were female, compared against single fleshes for the US. Sci-fi movies invariably ask large-scale budgets, and Hollywood is notoriously reluctant to admit girlfriends into a sons’ playground where Colin Trevorrow, Josh Trank, Gareth Edwards and Jordan Vogt-Roberts were all given blockbusters to aim after a single indie make, whereas Patty Jenkins had to wait 14 years between Monster and Wonder Woman.
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