Besson dismantles the idea that superheroes are all regular people with the same human impulses we have. As Lucy evolves, each move forward differentiates her because she’s no longer a typical human being. She experiences the world differently and ceases to relate to her old self.
By questioning the very humanity of its protagonist, Lucy shows the limitations of Hollywood’s favorite genre — and points to a new direction going forward
There are more prominent black films coming out now than were as recently as five years ago, but they’re not particularly original, or telling particularly ambitious stories. They’re repackaging stories considered rote by the modern moviegoing audience with the intentions of revitalizing them via the draw of unfamiliar casting — which is to say, non-white.
It is just the most recent example of a troubling trend toward homogenization
I like being in space because there are better parts for women in space. I don’t have to subject myself to just being the love interest or playing a character that doesn’t feel relevant to the story or playing a woman that doesn’t feel like an actual depiction of a real woman.
Ultimately, Edge of Tomorrow is not the story of how soldiers fought tirelessly to eradicate an invading alien race, but a story of Hollywood still caught in an endless loop of gendered habit. Studios create female characters, mess them up, and try again.
The question is: How many more tries until the studios figure it out, and cinema moves forward?
The important question concerning Hollywood’s imbalance is not whether good things are happening — they are — but whether each advancement inspires the developmental change necessary to make the numbers reflect the financial and creative strides being made in the industry. In 2014, people talk about the imbalance — but it will only matter if the powers that be start listening to the ever-rising voices of discontent.
A look at the ongoing evolution of femme-centric film in culture and Hollywood