How ‘Babygirl,’ ‘The Substance’ and ‘The Room Next Door’ Fight Against Society’s Standards for Women

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As a woman who has spent countless hours immersed in the world of cinema and its powerful storytelling, I find myself deeply moved by these three films that delve into the complexities of femininity, masculinity, anger, and love. Each filmmaker’s unique perspective adds depth to the themes they explore, and their personal experiences shine through their work.

The media is overflowing with accounts of individuals resisting efforts to control or limit women’s physical autonomy. Similarly, in Hollywood, certain movies competing in this year’s award season also address this theme.

As a movie enthusiast, I’d say: Pedro Almodóvar, the director and co-writer, presents “The Room Next Door” – a vibrantly colored film where Julianne Moore and Tilda Swinton play estranged friends. The twist comes when Swinton’s character chooses euthanasia over a prolonged, agonizing battle against cancer, leading to their reunion. Marielle Heller, the director-writer, brings Rachel Yoder’s novel “Nightbitch” to life on screen. This metaphorical black comedy-horror follows a devoted mother (Amy Adams) who undergoes a transformation into a dog, symbolizing her gradual loss of identity while nurturing her young son.

In a different phraseology:

In a straightforward manner,

She chooses to categorize her movie as a genre piece rather than a horror film. “Horror, in my opinion, is something that instills fear,” she explains, further stating that labeling it as “genre” enables her to delve into themes such as societal and professional expectations for women to behave politely without having to tread lightly on the subject matter.

Intriguingly, instead of a woman revealing the secret organization distributing the mysterious substance to Elisabeth Sparkle in Moore’s story, it’s a man who does so. Fargeat explains she hadn’t consciously made this choice during scriptwriting, but it fits as the neon-green formula transforms you into an idealized version of yourself that men desire.

In the finale of the movie, Moore’s character Elizabeth transforms into a portrayal one might expect if Pablo Picasso were tasked with depicting Dr. Frankenstein’s monster in real life. Her figure, now weakened and fragile, is twisted and reshaped. Areas that were previously sexualized are distorted and relocated to her head. Simultaneously, aspects typically concealed by societal norms for women, such as cellulite and wrinkles, are exposed.

Reijn’s film “Babygirl” explores shifting perspectives on sex, sexism, and even the profession of sex workers. In the movie, Nicole Kidman plays Romy, a successful corporate executive who hasn’t experienced sexual satisfaction in her marriage to Jacob (Antonio Banderas). She engages in a consensual affair with an intern (Harris Dickinson) partly due to the potential risks it poses for her career and public image.

In this film, we explore themes such as shame, power, sexuality, and the workplace. To ensure authenticity, all my internal dialogue in the movie mirrored what happened within my own household. I don’t aim to offer solutions; instead, my goal is to honor female emancipation. It was crucial to present various perspectives and show that some women may be attracted to a sexual power dynamic involving humiliation because they fear their own pleasure. In a way, it’s like they’re saying, ‘When a man holds power, it’s not my fault I enjoy sexuality.’

Having the “Babygirl” characters portrayed as males with differing ages enables Reijn to explore generational prejudices. In the closing scenes of the movie, Banderas’ persona questions whether genuine female interest in sadomasochism exists or if it is merely a creation by men.

In a fresh perspective reminiscent of Gen Z, Dickinson’s character portrays an understanding that female submission exists, yet finds liberation within it. Reijn further acknowledges that this character’s appearance, characterized by unconventional costumes, hairstyles, and makeup, is inspired by the “hot rodent man” aesthetic, a trend popularized among younger Hollywood stars like Jeremy Allen White, Barry Keoghan, Josh O’Connor, and Mike Faist from “Challengers”, as well as Zendaya in her role as Tashi Duncan in another film this year titled “Challengers”. This movie blends themes of sex, power, and features a dominant and flawed heroine.

Reijn expresses her desire to create a film that delves into masculinity, focusing on the uncertainties often faced by younger men – questions like “What should I be?” and “How should I act?”. She finds the emerging generation of men fascinating because of their sensitivity, which piques her interest. Moreover, she notes that this generation has grown up in a context where consent is more prevalent than during her youth. In contrast to typical dominant characters, they aimed to portray their character as both vulnerable and curious, exploring his identity as a man by asking himself “Who am I as a man?”.

In making “Your Monster” movie, director Lindy didn’t need to dig excessively to tap into her source material; she experienced heartbreak from a breakup and received a cancer diagnosis shortly after college graduation. Unlike the character Laura portrayed by Barrera, Lindy did not also lose her role in her ex’s musical production, return home to find a monster residing in her closet, nor did she discover that it had been there all along.

Throughout my twenties, as I began to consider this concept, it marked a time when I cultivated a deep bond with my anger. In fact, I came to appreciate that suppressed aspect of myself. Rather than feeling embarrassed by my rage, I was transformed by it and it shaped me into the person I am today.” (This interview takes place in her childhood bedroom over Zoom.)

Your Monster” is not just a romantic story, but a distinct one. As Lindy, a self-proclaimed rom-com enthusiast, explains, the character of ‘Monster’ symbolizes her hidden anger. Initially, Monster resembled the typical jerkish character found in many rom-coms. However, this character embodies a side of herself that she dislikes and is not well acquainted with.

As a cinema enthusiast, I must admit that even for a monster, he’s quite the charmer. Drawing inspiration from the trio of friends Dorothy Gale encounters on her magical journey in “The Wizard of Oz,” as well as the Beast in both the enchanting Disney film “Beauty and the Beast” and its captivating Broadway adaptation, Lindy and her talented team, led by the legendary Oscar-winning makeup artist David Anderson, worked their magic to create this extraordinary creature.

How did the #MeToo movement influence their narratives? Reijn expresses feeling incredibly liberated and much safer following the emergence of the #MeToo movement. She characterizes her film as a witty exploration or allegory concerning these themes. Conversely, Fargeat admits she was more inspired by the response to the movement rather than the movement itself. Lindy started writing “Your Monster” around 2018 but didn’t intentionally link her screenplay to the #MeToo movement until now, as it doesn’t center on sexual assault or objectification. Instead, she claims it serves as a stark reminder that when women unite in anger and proclaim they’ve had enough, one should be afraid. When we band together, we can destroy you.

Well, not everyone, she clarifies. Just the evil ex-boyfriends who deserve it.

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2024-12-18 21:19