When we see Frances McDormand driving a van through the Nevada desert, or Jennifer Coolidge drowning in the Mediterranean after one last tryst, or Song Hye-kyo delivering cold vengeance—we are seeing women whose wrinkles are maps of experience, not flaws to be airbrushed. The current renaissance is fragile and incomplete, but it offers a radical proposition: that the female body, even in its senescence, is worthy of the close-up. The future of cinema depends not on finding younger women to play older parts, but on finally listening to the stories that only mature women can tell.
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"Don't let the old man in," sings Toby Keith. But the old woman? We're just getting started. To help tailor future content, could you tell