I’ve always admired Natalie Portman. Besides being this generation’s go-to gamine and heir apparent to Audrey Hepburn, her public persona has been one of a smart, responsible, civically minded and non-panty-flashing young star. At 26, she already has a Golden Globe, an Academy Award nomination and a Harvard degree. So if even Natalie is having a hard time getting good scripts, you know something is rotten in the state of Hollywood.

While doing press with co-star Scarlett Johansson for their new film The Other Boleyn Girl, Natalie bemoaned the lack of good roles for women.

“I’ve recently been getting frustrated. [turns to Scarlett] I don’t know if you’ve had this experience, but we’re probably seeing a lot of the same variety of what’s out there, but I mean the number of roles for strippers or prostitutes — or the opposite — which, is like, 'She’s the moral center of the film! She’s the pure one. She’s the one that makes the man realize who he should be,’ you know? That sort of dichotomy exists so strongly, it’s like the virgin/whore thing evident to the greatest extent. So that’s really been bothering me.”

Ahh, the old Madonna/whore complex. Not sure what to do with that pesky female character, script writers? Make her a virginal maternal figure. Oh, you want to get teenage boys into the seats? Then totally make her a slut. Heck, this stuff practically writes itself. While Natalie has managed to avoid most of the stereotypical traps many actresses fall into early in their careers, she has had a couple roles that fell roughly along those old battle lines.

So what’s a young actress looking for a long career to do? Well, besides working with a foundation that finances women-owned businesses in developing nations and starting your own vegan shoe line? She just has to keep looking. … continue reading

Here's a true Hollywood story. A successful and smart female filmmaker wants to write a film about her experience as a female in a male-dominated business that doesn't always want to hear her voice and relegates women to the supporting cast once they pass the age of 40. The movie deal is eventually picked up, but by a cigar-smoking ex-con who runs his indie film company into the ground and changes the terms of the deal so much that it looks like the film will never be finished.

And there's no happy ending here, even for filmmaker Amy Heckerling. Here she is with daughter Mollie, who was one of the sources for material in the little film that couldn't: I Could Never Be Your Woman.

If you don't recognize Heckerling's name, you probably know her work: She's responsible for Fast Times at Ridgemont High and Clueless. So it's hard to understand how I Could Never Be Your Woman will end up in the depressing bin of straight-to-DVD film releases sold in a big warehouse store near you, especially considering the stars. Michelle Pfeiffer, for one. … continue reading

And with that question, film critic Joe Queenan isn't questioning movies like Beowulf or 300, with CGI background or characters. I might have been with him on that.

No, Queenan is lamenting what the advent of the information age has done to movies. His case in point: Psycho. If it were set in today's world, TripAdvisor.com and her PDA could save Janet Leigh from that fatal shower at the Bates motel.

I sort of see his point: I'm as tired of post-Matrix computer-age drivel as anyone else. But the pre-cell-phone-era films Queenan applauds, such as Beowulf, American Gangster, and No Country for Old Men, have something in common (aside from limiting cutting-edge technology to spear manufacturing or bolt pistols): a decided lack of strong female roles. You might as well call the Coen brothers' movie No Country for Women at All. … continue reading

It’s true — women do direct films. “But,” you’re thinking to yourself, “Exactly where are these films? Certainly not at my multiplex.” Unfortunately, that may be true as well; after all, roughly a mere 5 percent of Hollywood features are directed by women. It’s important, then, to show support whenever we can in the hopes that someday there will be true equality behind the camera. Visiting Movies by Women to learn more and, of course, getting your butt to the theater to see these movies are two good ways to help.

My butt (and the rest of me as well, actually) will be at the Egyptian Theatre in Los Angeles tonight for the 3rd Annual Focus on Female Directors, an entire evening’s worth of short films directed by women. American Cinematheque promises "the work of industry heavyweights, cinema pioneers, actresses-turned-directors, festival darlings, and the brightest stars emerging from film school.”

Tonight’s roster includes In the Spotlight, directed by Hilary Goldberg (Render: Spanning Time With Ani DiFranco) and Room 10, the reportedly very strong directorial debut of Jennifer Aniston.

Room 10

Co-directed by screenwriter Andrea Buchanan, Room 10 was originally part of Glamour Magazine’s Reel Moments short film series. Say, wouldn’t it be something if Aniston got attention for her work rather than her relationships? I know, I know ... it seems unlikely. But then, I’ve always been one to hitch my wagon to a star!

The longest film of the evening clocks in at 18 minutes, so even the most ... er, attentionally-challenged among us can stay planted for the duration. There’ll be a Macy Gray video, a film starring Robin Wright Penn, a film starring Guinevere Turner, a discussion with filmmakers Goldberg, Michelle Hung (Chinese Dumplings) and Mariam Jobrani (The Fighting Cholitas) ... and it’s all in support of a worthy cause. Maybe someday soon female directors won’t need a single, special evening — nor will they need to be labeled “female directors”. They’ll just, you know, exist.

Visit American Cinematheque’s website for more info. … continue reading

The folks at Entertainment Weekly like their lists. And their latest list is a big one; so big that it warrants the cover of the print version. Declaring that “It's not about power anymore,” EW has presented us with “The 50 Smartest People in Hollywood.” And guess what? Men are a lot smarter than women. Or, at least, there are a lot more smart men than women in Hollywood. Now, I'm not confident that I counted correctly because, you know, math is hard, but here are the numbers: There's exactly one woman (10 percent) in the top 10, two (8 percent) in the top 25 and 13 (26 percent) in the entire 50.

Meryl Streep, at No. 6, is the smartest woman in Hollywood — because she's managed to have a vibrant career after age 50.

The other 12 women are: 15. Amy Pascal, 26. Stacey Snider, 30. Jodie Foster, 31. Kathleen Kennedy, 32. Thelma Schoonmaker, 33. Angelina Jolie, 38. Diablo Cody, 39. Mary Zophres, 43. Beth Swofford, 45. Cate Blanchett, 47. Amy Powell and 49. Sarah Polley. (You can find the full list with explanations beginning here.) … continue reading

Earlier this week, Film Independent announced their nominations for the 2008 Spirit Awards. I'm still puzzled by last year's decision to curtail the name (originally the Independent Spirit Awards), and I always have trouble fathoming the cost of film (these particular budgets have to be under $20 million, which seems simultaneously huge and meager), but I appreciate that the nominations provide a relatively reliable guide to indie work worthy of recognition.

This year's most-nominated films are I'm Not There, The Diving Bell and the Butterfly, and Juno, but it's an altogether strong crowd, including some films popular with AfterEllen.com readers.

Along with Julie Delpy's Best First Feature nod for 2 Days in Paris and the heartbreaking and well-deserved acknowledgment for Adrienne Shelly's Waitress screenplay, there are such usual suspects as cool-straight Cate Blanchett for her turn as Bob Dylan, wacky-straight Parker Posey (Broken English), and reportedly now-straight Angelina Jolie (A Mighty Heart). … continue reading

File this one under "Please don't let it be true": According to Nikki Finke of online rag Deadline Hollywood Daily, Warner Brothers president of production Jeff Robinov has made a new decree stating that the studio will no longer make movies with women in lead roles. After that, he successfully negotiated to trade his Ecto Cooler for a Capri Sun and received the Academy's golden hall pass for a trip to the little boys' room.

Oh, wait. I shouldn't insult second graders like that. After all, Jeffy isn't still growing, he's a man — and must've gotten tired of being mistaken for a man with a clue. Don't worry, Robinov, we know Hollywood's still an old boys' network; no need to post the sign.

According to Finke's sources (which she interprets as reliable), the decision is in response to the box office failure of The Brave One and Invasion. Apparently Jodie Foster and Nicole Kidman are everything that's wrong with movies these days. … continue reading

It seems to be a great time for women directors. They're currently earning critical and/or commercial success (e.g., Kasi Lemmons' Talk to Me and Sarah Polley's Away From Her). Not surprisingly, this celebration is accompanied by analysis of how little has actually changed. Women still have disproportionately few directing opportunities outside the realm of independent movies. As Terry Lawler, the executive director of New York Women in Film & Television, noted:

"While it's wonderful to see all these women getting recognition, we have had these moments before where a door seems to open, and then it turns out that the door doesn't lead anywhere."

And Academy Award–nominated director Jane Campion recently voiced a similar analysis (basically, "Men control all the money").

The subject is frustrating, but it warrants regular revisiting if things are ever going to change. And I'll do the one thing I can do: recognize some of the great women directors and their stereotype-shattering, groundbreaking movies. This list is far from exhaustive and does not include lesbian directors of lesbian movies. So please don't yell at me for excluding Angela Robinson and Rose Troche.

6. Ida Lupino, Not Wanted (1949)

Best known as a B-movie actress from the 1940s, Ida Lupino was also a prolific writer and director. She had already expanded from acting into production when the director of Not Wanted (aka Shame and Streets of Sin — how good does that sound?!) suffered a heart attack on the third day of filming. She took over as director and went on to a lengthy career in movie and television direction — including two episodes of Gilligan's Island! … continue reading

On Sunday, Jane Campion was one of many directors honored at the Cannes Film Festival. One of many men, that is, but the one and only woman.

When asked why female directors are so scarce, Campion didn't mince words:

"I just think this is the way the world is, that men control the money, and they decide who they're going to give it to." … continue reading

Last week, Salma Hayek partnered with MGM to form Ventanazul, a production company that aims to make "movies that have Latino themes but appeal to mass audiences." If anyone can do that, Salma can. The woman has a vision, and it's been a beautiful sight to behold thus far.

… continue reading

The write-up in the New York Times was interesting for a couple of reasons: First, it appeared in the Business section, under the heading "Latina Ambassador to Hollywood."