LFM’s Govindini Murty at The Huffington Post: How Women Can Save the World by Telling Epic Stories in the Movies

[Editor’s Note: the post below appeared yesterday at The Huffington Post.]

By Govindini Murty. A Wonder Woman fan film that blazed across the Internet this week has women everywhere cheering the possibility of a female superhero movie. It also raised the intriguing question: what might our culture be like if we had more grand, epic movies about the lives of women? And what if women filmmakers were writing and directing them?

As women filmmakers, we’ve been told to accept small stories, low budgets, and modest expectations. But what if we have much larger visions? What if we want to make blockbuster movies with heroines who are full of valor, keen intelligence, and a desire to change the world?

And what if women’s epic movies could change the world – by providing the uniting narratives that can overcome the division and fragmentation of our civilization today?

This past week I had the pleasure of speaking on this subject at Social Media Week LA’s “Power Women in Entertainment” panel. (You can see the full video from the event above.) We had a bright and enthusiastic audience, and as often at such events, the recurring question came up: how do we correct the ongoing imbalance in women’s representation in media and entertainment?

We all know the dismaying numbers: only 5% of the top 100 studio films are directed by women, 4.2% of Fortune 500 companies are run by women, 3% of all tech companies are started by women (and yet they are 35% more profitable than those started by men), 27% of top media management jobs are held by women, and only 27% of on-screen movie roles are played by women (a number not changed substantially since the 1920s!).

I suggested to the audience that the best way we as women could overcome these inequities was by focusing on the excellence of our work – and by taking on big stories and using digital technology to deliver big results.

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From "The Hunger Games."

My co-panelists Rachael McLean of JuntoBox Films (an innovative film company co-founded by Forest Whitaker), Sarah Penna of Big Frame, and Jesse Draper of Valley Girl outlined how they were working toward these goals. We agreed that we needed many more women entrepreneurs and entertainment creators to make these efforts stick.

In the film world, this means insisting that women be given the opportunity to write, direct, and act in the major movie properties that have the potential to achieve the greatest box office success.

The excuse that Hollywood executives give that women-led movies don’t make good business sense is pure nonsense. Research studies show that the chief determinant in the box office success of a movie is not the gender of the director or lead actor – but the size of the budget and the breadth of the film’s release.

Therefore, when a woman is given a significant budget and a tent-pole property to direct, she has as great a chance of success as a man given a similar-level project. Examples of such profitable female-directed tent-pole movies include Catherine Hardwicke’s Twilight ($392 million worldwide box office, launched a $3.34 billion franchise); Jennifer Yuh Nelson’s Kung Fu Panda 2 ($665 million worldwide); and Phyllida Lloyd’s’s Mamma Mia! ($609 million worldwide on a budget of $52 million).

Recent female-starring successes include Alice in Wonderland ($1.02 billion worldwide) and The Hunger Games ($691 million worldwide on a budget of $78 million). Women are also the leads in five of the ten highest-grossing domestic films of all time, adjusted for inflation: Gone With the Wind (the highest-grossing film of all time, with $1.64 billion in domestic box office), The Sound of Music ($1.16 billion domestic), Titanic ($1.1 billion domestic), Snow White and the Seven Dwarfs ($889 million domestic), and The Exorcist ($902 million domestic). One could also argue that women play a major role in the success of other top-ten grossing films like Dr. Zhivago and The Ten Commandments, with their significant and strong female roles.

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Scientist Marie Curie.

But how do we empower more women to direct, write, or star in such blockbuster movies? Further, how do we enable more women to found the next big media company, or come up with the next great tech innovation?

My belief is that women can help themselves achieve these goals by adopting broad and ambitious visions. Further, these visions must be founded on a firm foundation of deep, humanistic knowledge, a willingness to step out from the pack and lead, and creativity in crafting epic, inspiring narratives. Continue reading LFM’s Govindini Murty at The Huffington Post: How Women Can Save the World by Telling Epic Stories in the Movies

LFM Reviews Layla Fourie @ The Goethe Institut’s German Currents Fest in LA

By Joe Bendel. Lies and deceit hang heavy in the South African air. That should be good for Layla Fourie’s career. She is a freshly certified polygraph operator. Unfortunately, she also ensnares herself with a web of lies in Pia Marais’ Layla Fourie, which screens as part of the Goethe Institut’s German Currents: Festival of German Film in Los Angeles.

Fourie is a single mother with limited resources, but she stands on the brink of a better life. Hired by a polygraph company, she is sent to a large provincial casino to screen their next batch of prospective employees. Tragically, while in transit, Fourie runs down a stranded motorist she mistakenly takes for a carjacker. It was a dark and stormy night, and Fourie initially tries to do the right thing. Eventually, though, she just dumps the body and covers up her crime as best she can. Of course, there is a witness: her horrible brat of a son, Kane.

Duly proceeding with her work, Fourie starts polygraphing applicants, including Eugene Pienaar, one of the few white job seekers. He immediately resents her intrusive questions, but is also somewhat attracted to her. These responses make Fourie profoundly uneasy around him. As Fourie reluctantly comes to know Pienaar, she realizes his missing deadbeat father was the man she crashed into. The more time she spends with Pienaar, the more her conscience torments her. To make matters worse, Kane turns out to be a natural born blackmailer.

The ethically compromised polygraph operator is a fresh and intriguing noir premise, but Marais and co-writer Horst Markgraf never fully capitalize on its potential. Frustratingly, the polygraph machines entirely disappear after the first act. Still, the relationship that uneasily develops between Fourie and Pienaar is sharply written and smartly played by Rayna Campbell and August Diehl, respectively. They share some real screen chemistry, but also convey all the thorny collective history making them instinctively wary of each other.

From "Layla Fourie."

LF really crackles when Campbell and Diehl share the screen. Regrettably, there is also an awful lot of utterly dreadful Kane, who makes a compelling case for child abuse. Frankly, his behavior never rings true. After all, kids are usually highly attuned to their parents’ circumstances and prone to show solidarity.

Conversely, the lawless milieu of LF feels very true to life. Ruthlessly naturalistic in her approach, Marais holds a mirror up to nature and finds its reflection bitter and two-faced. Now based in Germany, Marais split her childhood years between South Africa and Sweden. Clearly, she is not entirely sanguine about the prospects for her partial homeland’s social fiber. After all, nearly everyone in LF is morally suspect—the only question is to what extent.

LF vividly immerses viewers in its harsh reality. Cinematographer André Chemetoff nicely frames the character’s intimate angst and the harsh beauty of their surrounding environment. It might be a bit of a ringer at German Currents, but the work of Campbell and Diehl should still pull in viewers expecting something more like Young Goethe in Love. (It is also part of the trio of Match Factory films screening during the festival.) While not without flaws, Layla Fourie is consistently bracing. Recommended for those who prefer their cinema without any extraneous sentimentality, it screens this Sunday (10/6) at the Egyptian Theatre as part of this year’s German Currents.

LFM GRADE: B-

Posted on October 5th, 2013 at 1:50pm.