When it comes to equality between men and women, we may well think what we want from the taste of Hollywood and its democratic gotha for preach-preach activism. At its best, the documentary produced by Geena Davis (forever the gunsling tough Thelma and Louise, but also the founder of a statistical institute on gender disparities in the media) reminds us that it would be difficult to find a more frontal voluntarism in the matter. Were it likely to hurt beliefs in force in the country of cultural exception.
We learn in particular that in the 80s (!), A group of six female directors, exhausted victims of unemployment, prided themselves on suing the majors for discrimination at work, and made gender equality in the cinema a stake in the fight for civil liberties. (It smells like a biopic project, or we don’t know anything about it.) Nor will we take away from the Americans their know-how in terms of documentary didacticism and display of hypercommunicative conviction: panel of eloquent heroines (from Meryl Streep to Cate Blanchett, via the activist Tarana Burke at the origin of #MeToo, among other more anonymous figures), speeches chopped to keep only the punchlines, sense of the cheerful demonstration which makes the enthusiasm get carried away, music in every corner. Starting from the downstream – the representation of women in films -, Everything can change begins by examining the gendered myths of American cinema, before going backwards on the upstream side of manufacturing. Who embraces too badly embraces, we say unfortunately when discursive side roads end up amalgamating all the symptoms of discrimination in a same mixture of indignation, where the exactions of Harvey Weinstein rub shoulders with the question of the quotas of scriptwriters and the gravelly exits from Donald Trump.
Nevertheless, the objectification of inequalities by the figures gives an unstoppable force to the film, moreover marked by two biases: the fight is on the level of legal action, and the cinema, defrocked with the aura of work dear to our countries, is only apprehended as an object of mass communication, a vector of messages capable of lastingly informing psyches – the striking force of the dream factory thus implies great responsibilities. What to wish for more complexity than what the film presents of the debate in a limpid and unequivocal light, but also to make one strangle a little more the counter-revolutionaries who quickly made see in the movement of redistribution of the powers started l advent of a feminist dictatorship. Too bad for them.
Everything can change: what if women counted in Hollywood? of Tom donahue 1 h 35.