By Claire. 

2018 is a new year, and with it, I have decided to take on the 52 Films By Women pledge. Started by Women in Film Los Angeles in 2015, the pledge aims to increase awareness of female made film by asking its pledges to watch one film directed by a woman each week for a year. This is something we have loved the idea of, but have never had the time to fully commit to. However, there is no time like the present!

Here at Cause a Cine, I am going to alter the rules a bit and include films written or directed by women. As I continue my journey into screenwriting, I found it fit to include female screenwriters as well, and increase visibility of female filmmakers across all fronts. 

As we are well aware, women in film are severely underrepresented. In Women and Hollywood's yearly round of up statistics for 2017, it was found out of the top-grossing films from 2007 to 2017, 95.7% of directors were male, and 4.3% were female. This equates to twenty two male directors hired for every one female director. Of these women, out of 1,100 films, four were directed by Black women, three by Asian women, and only one Latina director. Despite being a record year for female directors in 2017 (Of course, by "record year" we mean eight films out of the top 100 films of the year were directed by women, but this is an increase from the year previous), there are zero women nominated for Best Director of a Motion Picture at tomorrow's Golden Globes. While Greta Gerwig's Lady Bird is nominated for Best Film Musical or Comedy, there is no nomination for Gerwig herself as director. 

By making a pledge like this, we can help increase the number of films created by women which are made visible, and in turn, help encourage more female writers and directors to be hired in future. 

I will be cataloging my pledge on Twitter (@causeacine), and updating weekly here on the blog. 

You can sign up to the pledge on the Women In Film website here, or check out an amazing list of female directed films on GoWatchIt here. You might have seen more films directed by women than you realise. 

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52 FILMS BY WOMEN - 2018 

Week 1: Everything Everything (2017), directed by Stella Meghie.

Week 2: Dirty Dancing (1987), written by Eleanor Bergstein.

Week 3: The Kids Are Alright (2010), directed by Lisa Cholodenko

Week 4: Lady Bird (2017), written and directed by Greta Gerwig

Week 5: Obvious Child (2014), written and directed by Gillian Robespierre

By Claire.

Small town Western Australia, 1965. The bright and inquisitive Charlie Bucktin is woken in the middle of the night by the town’s mixed-race outcast, Jasper Jones. Begging for help, Jasper lures Charlie to a clearing in the bush on the outskirts of town to find a sinister end for local girl Laura Wishart. Charlie is thus whisked into a whirlwind of mystery and secrecy, as he tries to find out who killed this girl. Three kids swept up into a complicated adult world, Jasper Jones is the ultimate young Australian gothic, and one of the best Australian films I have ever seen.

Prior to university, when I thought of Australian film I thought of the low calibre, ocker and subversive. This perception was founded on too many viewings of Round the Twist, and little actual knowledge of Australian film. Here’s the thing, though: Australia can make great films, of high calibre - they just occur few and far between.

(left to right) Angourie Rice as Eliza Wishart, Aaron L. McGrath as Jasper Jones and Levi Miller as Charlie Bucktin

Directed by Rachel Perkins, Jasper Jones is an example of the standard that Australian films can demonstrate. What Perkins achieves, and sets the film apart, is a deep understanding and respect not only for the text, but for Australian stories. This level of respect is something last year’s Joe Cinque’s Consolation fell short of achieving. Both stories of crime, both adapted from books, but both with vastly different outcomes. In an article for The Guardian, James Robert Douglas argues the issue with Joe Cinque’s Consolation was that the author of the book, Helen Garner, wasn’t involved in the adaption. Based on a true story, instead of a straight adaption of Garner’s investigation, director and writer Sotiris Dounoukos chose to dramatise the events of Joe Cinque’s murder, in a way which had myself and others in the cinema cringing, not gasping. Harsh words, but the film had a distinct aura of not taking itself seriously. This could be due to it being Dounoukos’ first feature, or a lack of understanding as deep as only Garner’s investigative reporting and writing can provide. 

On the other hand, there is Jasper Jones. Adapted from the Australian modern classic by Craig Silvey, Silvey was primary writer on the screenplay and actively on set every day, keeping a close eye on the adaption and providing support as a person who knew the story. In addition, as revealed at the Cinema Nova Q&A, what eventually led producers Vincent Sheehan and David Jowsey to choose Perkins for the role of director was her deep understanding of the book. What results is a story taken seriously and filled with intricate details, and a film that hits the mark, spot on.

Charlie and Jasper confronting Mad Jack Lionel in Jasper Jones

This successful inclusion of the author is also the case for The Dressmaker. Directed by Jocelyn Moorehouse and based on the book by Rosalie Ham, The Dressmaker opened at #1 in the Australian box office - no small feat in a culture which often overlooks Australian film for the latest US blockbuster. Unlike Silvey, Ham did not write the screenplay for the adaption of her book, but early interviews indicate she was active in the production.

Like Jasper Jones, The Dressmaker is a mid-century Australian gothic set in a small town. In the hands of any other directors both films could have fallen into the all-too-familiar pit of the ocker and larrikin typical of many Australian male directors, as evident in the absurdly successful Crocodile Dundee in the 1980s and ever-present in Australian films ever since. The effect this has had on Australian films is the notion of cultural cringe, parodies of Australian life, as if the filmmakers are embarrassed of telling an Australian story. Perkins and Moorehouse avoid this, though, and tell Australian stories with heart. Perhaps this is due to them being women. The ocker and its ties to Crocodile Dundee is a masculine perspective, whereas women are not included in this identity. The ocker does not influence their style, and thus female directors offer a fresh perspective for Australian screens.

(left to right) Judy Davis, Sarah Snook and Kate Winslet in The Dressmaker

This is not to say Australian men can’t make beautiful films, such as Simon Stone’s The Daughter and Garth Davis’ Lion, but the perception of ockerness persists. The inclusion of female directors gives a fresh, more serious point of view to Australian cinema. Due to being outside of the traditional Australian identity, female directors know how to make a good film, as they aren’t bound to Australia’s history of the ocker and the subversive. Of course, this is improving, with Screen Australia’s Gender Matters initiative, and active conversations happening around the country and throughout the industry. Women need to be given more opportunities to tell stories, because time and time again these films have shown what should define the Australian film industry.


Jasper Jones is out in cinemas March 2nd.

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Cause a Cine do not own any images used in this post.

By Claire

It's why were all here, really, but female directors are seldom talked about in mainstream media. In effect, the more casual viewer often say to me that they do not know of many women directors. Even in one of my cinema studies classes last year, students, too, had trouble making a list of female directors. 

I stumbled across this list of essential films by female filmmakers last year, and as a budding women in film activist, more titles surprised me than I would care to admit. 

When you really think about it, you may have seen more female-directed movies than you know:

Across the Universe (2007)

Directed by Julie Taymor

The Matrix (1999)
Directed by Lana and Lily Wachowski 

Whip It (2009)

Directed by Drew Barrymore

Little Miss Sunshine (2006)
Directed by Valerie Faris & Jonathan Dayton

Thirteen (2003)
Directed by Catherine Hardwicke

You've Got Mail/Sleepless in Seattle
Directed by Nora Ephron

Bend It Like Beckham (2002)
Directed by Gurinder Chada

Wayne's World (1992)
Directed by Penelope Spheeris

Clueless (1995)/
Fast Times at Ridgemont High (1982)
Directed by Amy Heckerling

An Education (2009)
Directed by Lone Scherfig

We Need to Talk About Kevin (2011)
Directed by Lynne Ramsay

American Psycho (2000)
Directed by Mary Harron

Selma (2014)
Directed by Ava DuVernay

You can check out the rest of the list here

Or join the pledge to watch #52FilmsByWomen, along with more lists and resources

What's your favourite film by a female filmmaker?

By Claire

As a feminist, and a recent one at that, I am constantly learning. After years of living in this gosh darn patriarchal society, as a woman I have learnt to think in a certain male-dominated point of view, especially when it comes to careers. Girls are too often taught that we are lesser beings, and for that we have to work harder to achieve our goals, to be recognised and respected.

Even as I write this, I think about how CRAZY INSANE this all is. Women are lesser than men? For no valid reason at all? Who the hell decided that, and what kind of dystopian world are we living in? 

Firstly, we need to stop ingraining in girl's minds that being a girl makes you less of a person, that men are strong and powerful and it is our job to support them, to take a step back so they can stride ahead. And this is all subconscious. We aren't fully aware that we do all of these things, have all of these thoughts that leave women with the desire to prove ourselves, whereas men do not. Popular culture and the media do play a major part in this, but everyone is learning. Women are waking up out of the patriarchal haze once again, and this time we will get more change. 

A couple of weeks ago at a Women in Film panel I had the pleasure to attend, the discussion of actions and quotas were discussed. Fueled by passion, anger at this damn patriarchal industry/world, and I will admit, tiredness, I raised my hand and argued something that I, at the time, thought was perfectly logical: quota's in the film industry to have a 50/50% divide of male and female led films/productions would not be effective, because in order to fill the quota you may be forced to take on a project that fails. 

I thought that while men make bad films all the time, as an emerging group, no matter how many great female-led films there are, one bad film by a women may be used as an argument on why women shouldn't make films. 

At the time I couldn't understand why the argument was received badly, as I thought to myself: I need to learn to stop apologising and stick to my beliefs. 

However, I am apologising and retracting this statement today, but this is because I have seen the errors of my ways. On Friday I attended another Women in Film panel with Rebecca Harkins-Cross (film editor of The Big Issue) and Brodie Lancaster (founding editor of Filmme Fatales), and they made me realise how stupid I was being.

Here's the thing:

WHO CARES IF WOMEN MAKE BAD FILMS FROM TIME TO TIME? Who cares if a women filmmaker has a flop, or "fails" once in a while? We (Women in film activists, I guess you could say) are not in the business of supporting women to make films, only if their good. It's about increasing the amount of women who are given a chance to make films.

Full stop. 

Male filmmakers do not have the pressure to make stunning film after film. If a male filmmaker approaches a producer and says "I want to make this film", more often than not, they will get their funding. There will definitely be another Transformers movie, but it is harder for female-led projects to be taken on board. This is because female filmmakers are seen as too risky to invest in. 

To risky?! 

Women have so much pressure placed on them to constantly be doing good. And if they make a good film, it's even harder for them to e trusted again. Case in point: at the panel on Friday, Brodie Lancaster pointed out that Catherine Hardwicke directed the first Twilight movie, but the rest of them were done by men: Chris Weitz, David Slade and Bill Condon. This gives the impression that women are not to be trusted, especially with large-grossing blockbuster film franchises. 

Salma Hayek said at a talk held by The Hollywood Reporter at Cannes that for female productions to be taken on, we must "show them the money."  Show these executives that female made productions will sell, will be consumed, because women are powerful consumers and will watch this content. But does it really have to come to that?

In short, I now understand why my first statement was so wrong. It shouldn't matter if quotas may or may not mean the occasional bad film by a woman is made: As long as films by women are being made. The closer we can get to a 50/50 divide, the better. 

Hopefully one day, this can occur without a quota even being needed.

By Claire


Filmed in 8 different countries, over 150 talking parts, an equal divide of male to female lead roles and a killer soundtrack, Sense 8 is the next Netflix original series to prove that diversity in a TV show is not that hard to do. 

The show focuses around a group (“cluster”) of 8 people from all around the world and their unique connection via senses. Also known as sensates. 

Sense8 is great for a number of reasons. First, it is filmed on location all around the world- in Mumbai, Nairobi, Berlin, Seoul, London, Reykjavík, Mexico City, San Francisco and Chicago- which is beautiful. This is no green-screen stylised culture: it’s the real deal. In each country, the show has used local crew and cast in order to capture the essence of each location. How cool is that?

Secondly, THERE ARE THE SAME NUMBER OF FEMALE LEADS AS THERE ARE MALES. WHAT?!

How often does a show have the same amount of female to male leads? Not very. 

Along with the four male leads (Mexican telvenova actor Lito, Chicago cop Will, Kenyan bus driver Capheus, and German jewel thief Wolfgang) there are four well-rounded and diverse women. 

Kala in Mumbai, a pharmacist who is devout to the Hindu god Ganesha. 

Riley, a DJ from Iceland (living in London), with a heart-breaking backstory. 

Sun, a business woman from Seoul and amazing fighter.  

Nomi, a hacktivist and transgender woman played by a transgender actress. 

These women are complex. At face-value they may seem like cultural stereotypes (Kala struggling with whether to go through with her wedding or not; Sun, the passive daughter willing to put her father and brother before herself) but it is the way the stories are built upon and developed that moves beyond these stereotypes.

Along with the diverse characters, the show also explores sexuality in a positive way. While it has been reported that every character should be seen as pansexual, Lito and Nomi are both in loving, committed, same-sex relationships. 

Lito's boyfriend Hernando and Nomi's girlfriend Amanita are 100% devoted to their SO's, and support them all the way. Loving, same-sex relationships that aren't destructive and have little drama are hard to come by on screen, but Sense8 makes it seem effortless, and yet engaging.

Another win for women in this Sense8 is the show is written and directed by the Wachowski’s (Cloud Atlas, Jupiter Ascending). Andy and Lana Wachowski are a brother-sister duo, meaning, along with the equal divide of cast members, half of the writing/directing team is also a woman.

The show is confusing at first (when you watch it for the first time, there are a lot of WHAT THE HELL? moments, but it is fase paced, and beautiful. You get to experience so many different cultures in an authentic portrayal. 

Men feeling the effects of a period, a killer international/psychological karaoke session, teamwork, kick-ass fight scenes, a bazooka???, a Bollywood dance sequence, smart-car stunts... Sense8 is insanely culturally enriching, and engaging. 

You will be hooked. 

(I may or may not have watched the 12 x 60min series three times in three weeks...)

Have you seen the show? What do you think? I’m interested to hear your thoughts!

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Sense8 and the behind the scenes documentary, Sense 8: Creating the World are both available now on Netflix. A second season has also been announced.

The poster for the Sara Bareilles musical has been released and we decided that it’s something you should know about.

The story of Jenna, a newly-pregnant diner girl with a knack for pie-making, stuck in an unhappy marriage in her small Southern town, Waitress is a musical adaption of the 2007 film of the same name, written AND directed by the late Adrienne Shelly.

Now directed by Diane Paulus (Finding Neverland, Pippin, Hair), the book is written by Jessie Nelson (screenwriter of I Am Sam, Stepmom, The Story of Us) and the music and lyrics by Sara Bareilles (five time Grammy Award nominee). The show will also star 2014 Tony Award for Best Lead Actress in a Musical winner, Jessie Mueller (Beautiful: The Carole King Musical).  

Check out that lady line-up!!

Waitress is set to hit the American Repertory Theatre in Cambridge, MA in August.

After the success for the  all female writing team for Fun Home (2015 Tony Award for Best Musical, Best Book for a Musical and Best Score for a Musical), Cause a Cine wishes the best luck to Waitress and it’s cast and crew. 

Written by Claire | Source: Playbill

Hello all, my name is Claire and I am the founder of Cause a Cine.

Cause a Cine is an idea of mine that has been in the making for a while now, and with the guidance and support of my beautiful lady friends, I am so proud and excited to finally launch this blog. 

This blog is a combination of a few things I am passionate about: screen and stage entertainment, writing and feminism. 

I created this blog because every day I see evidence of the marginalization of women in the entertainment industry. Everyday I see a new statistic, video, read a story or see a quote about the inequality of women in these industries, for either performing or in behind the scenes work.

Also, as a media and cinema studies student, I have noticed my courses are filled with male scholars, male opinions and voices. In cinema studies especially, majority of the readings we were assigned were written by men, and majority of the films we studied featured male leads. All films were directed by a man. 

But you know what? I go to my lectures and my classes and I see that half, if not over half of the students I see in these rooms and lecture halls are girls. In my cinema studies subjects, the coordinators are women, and for both subjects I have taken so far, my tutors have been women. Whereas in media, my tutors and lecturers have been men.  

The female voice needs to get out there. Female students and everyday appreciators need to know that men aren't the only ones with a "valid" opinion, that they aren't the only voice we have to hear. 

Everyday I am inspired by amazing ladies who achieve, aspire, inspire and speak up about this marginalization. In particular, I am inspired by women like Reese Witherspoon and Bruna Papandrea who started their own production company, Pacific Standard, aimed at producing films with strong female lead roles (and smashed the box office last year with their debut films Gone Girl and Wild); And here at home, with the introduction of another all-female production house The Dollhouse Collective, based in Sydney, run by amazing artists Rose Byrne, Gracie Otto, Krew Boyland, Shannon Murphy and Jessica Carrera. All-female production companies are taking action to create female content and that is what this blog shall do, too. 

I am inspired by so many amazing women, and I could not possibly list them all, but they will be celebrated in future posts, because that's what this blog is all about.

My hope for this blog is for it to be inter-sectional. I want it to be inclusive of women of all identities. When I use the words female/women/girls, we mean anyone who identifies as such, no matter what gender she was assigned at birth. 

I have a lot of plans and high hopes for this blog, but it, like I, is a work in progress. I wish to be the best writer, editor and feminist that I can be, but I am learning. So bear with me, as I learn. 

All in all, I am very excited, and I hope you are, too. 

If you wish to write for Cause a Cine, be sure to check out the Facebook and Twitter accounts for "casting calls", and the Contribution page in the sidebar. Cause a Cine would love to have you!

Let's do this thing.

Claire.