The Industry Still Ignores Women Filmmakers—Even When They Outperform

We all remember the titles: The Hurt Locker, Little Women, Monsoon Wedding. But how many of us remember the women who made these films? Across the world, female filmmakers are shaping cinematic history, yet still, they're overlooked, under-credited, or treated like exceptions in a boys' club that barely lets them in.  Despite creating some of the most powerful, nuanced, and boundary-pushing work in cinema, women filmmakers continue to be overlooked in mainstream narratives. Their contributions are frequently sidelined—whether through lack of funding, limited screen space, or absence from major award circuits. This persistent underrecognition isn’t due to a lack of talent or vision, but systemic barriers that prioritise male voices.

Yet, women directors keep pushing forward, telling stories that challenge, heal, and resonate—proving again and again that the lens they offer is not just important, but essential.

In 1977, Lina Wertmüller became the first woman ever nominated for an Oscar for Best Director for her film Seven Beauties. The nomination was historic, but it didn't translate into lasting mainstream recognition. Wertmüller's legacy has often been pushed to the margins of film discourse, despite her fearless storytelling and pioneering status.

In 2023, Greta Gerwig directed Barbie, a cultural phenomenon and billion-dollar success. Yet when Oscar nominations came around, she was left out of the Best Director category. Before that, she redefined Little Women and gave us the soul-stirring Lady Bird, but the spotlight still doesn't quite shine on her the way it should. Why? Because the industry still hesitates to hand over full credit to women, even when the numbers, impact, and audience all do.

Beyond Hollywood

This issue isn't exclusive to the West. In India, filmmakers like Aparna Sen and Mira Nair have spent decades making powerful, nuanced films. 36 Chowringhee Lane and Monsoon Wedding are cinematic gems. But these women are often typecast into "art cinema" or "women's stories," diminishing their cultural and artistic contributions.

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In France, Agnès Varda, one of the founders of the French New Wave, remained critically celebrated but commercially ignored during much of her career.

Let's go even further back. Alice Guy-Blaché, who started directing in the 1890s, is believed to be the world's first female filmmaker, but her name has been largely erased from film history. She directed over 1,000 films. Yet in most film textbooks, she's either absent or barely mentioned.

Recognition Comes Last, If at All 

Even women like Kathryn Bigelow, who won an Oscar for The Hurt Locker, had to "masculinize" her film to be taken seriously. It raises a larger question: why must women prove themselves on men’s terms to be acknowledged? And those who make films about women, for women, the stories that challenge the norm, are often sidelined in "festival circuits" while mainstream industry continues to prioritise male-centric narratives.

Women Telling Women's Stories 

What makes female filmmakers different isn't just the fact that they're women. It's how they tell stories. It's the nuance in their characters, the emotional depth in their direction, and the themes they're willing to explore, often stories that challenge gender, identity, power, and patriarchy. Their work gives voice to people who rarely see themselves on screen. And yet, they still have to fight for credit, funding, and shelf space.

Who Gets to Make Culture? 

This isn't just about fairness in awards. It's about who gets to shape the cultural stories we all consume. It's about visibility. When we erase or ignore women in film, we're reinforcing a narrow idea of who gets to make art, and who that art is for. If we're serious about inclusivity and change, the recognition of these women needs to be intentional. Not afterthoughts. Not footnotes.

From Lina to Greta, from Aparna to Agnès, women have never been absent from film history. They've just been left out of the frame. It's time we stop treating them like exceptions and start recognising them as the rule.

Views expressed by the author are their own.