Welcome to Girls on Film -- not as skin-laden as the Duran Duran song, but a new Cinematical column full of female-centric musing, rants, love, and aggravation.
There are two ways you can go with an introductory post -- you can either jump in randomly, or try for something all-encompassing. I was set on the latter, but the challenge is not just stating the obvious. We know that women struggle behind the camera, and we know what they get offered in front of it. But as much as gripes and arguments about women in film are necessary to improve the Hollywood landscape, they're only as good as the moments of praise and adoration. If we can't appreciate the good that's present today, and for that matter, was present yesterday, this cycle will never end because eyes set completely on the future never see the perks of the present.
It's a bad habit that pops up in any part of life -- so much energy is expended on the fight, and it's so easy to fall into an aggravation-filled rant, that we often forget the good. In the world of cinema, it's everywhere. We rant, rightly so, about remakes and sequels, but also forget when they transcend their mundane brethren to become a worthy feature. (The first Fly is wonderful, but can you imagine Hollywood without the remake?) When it comes to women, so much energy is thrown down the toilet ranting about talented women selecting crap -- Sandra Bullock's next dumb comedy, or another romcom about girls fighting over boys (I'm looking at you, Bride Wars) -- that we rarely chatter on about the good. And, if you follow that whole Law of Attraction thing, focusing on the absence is bad, but focusing on the good that's there brings more of it.