So What Really Makes A Film “Feminist”?

Over the last few decades, perhaps in an effort to denote our social progressiveness, hundreds of films have been dubbed “feminist”. Whether because they feature a plucky female hero with a penchant for ass-kicking or reclaim female sexuality in a way that’s rarely seen, these movies are stamped with the “feminist” brand and made a part of a larger conversation, but the truth is that it’s become a word tossed around with such ease that it’s almost lost its meaning. In a recent blog post, The Love Witch director Anna Biller urges us to stop calling movies feminist – because in reality, most of them aren’t. So what exactly is it that makes a movie “feminist”? You might be surprised by the answer.

Since falling in love with film at a young age, I have been searching for myself on screen. After watching dozens of films where men saved the day and women stood idly by, it felt revolutionary to finally see female-led stories. I admittedly later would begin dubbing these films “feminist” because I felt they possessed an affection for women, an appreciation of our capabilities and understanding of our humanity. As Biller points out, however, “feminism is not love of women, it’s a political movement.” For us to equate the two is a disservice to said movement and to women. A truly “feminist” film is consciously made and intends to get the audience thinking about equal rights for women and how women move through the world on a day-to-day basis. A lack of sexism or misogyny does not automatically amount to feminism. To label films this way merely because they feature a female lead isn’t just incorrect – it’s lazy, and it gives credit where credit is not due. A film isn’t feminist just because its leading lady can go toe-to-toe with the men and take care of business, or because she chooses to end up alone in the end or doesn’t need a romantic partner to lean on. It’s feminist because it means to be.

By branding every single film with a “strong female lead” (ugh) with the word “feminism”, we are diminishing the power and meaning of the word, and the efforts of those who actually intend to put feminist works out into the world. For years, I’ve called films and television shows “feminist” purely because they featured positive female representation. Kill Bill is not feminist just because its protagonist seeks revenge on the men who wronged her. Having a female ensemble cast does not make Pitch Perfect a feminist film. Three Billboards Outside Ebbing, Missouri doesn’t get a feminist stamp purely because Frances McDormand plays a “badass“. A film with a female director is not automatically feminist, even if it helps to have a woman’s story told through a woman’s eyes. The truth, however, is that simply putting a woman front and center on screen does not a feminist film make. So what does?

Some would argue that the Bechdel Test – a simple test created in 1985 by Alison Bechdel that asks whether a film has at least two female characters and at least one scene in which they discuss something other than a man – determines a feminist film. While it’s certainly a plus (and harder to find than one might think), this is the bare minimum. If we are to function based on the actual definition of feminist – “advocating social, political, legal, and economic rights for women equal to those of men” – then the Bechdel and Mako Mori Tests don’t cut it. Instead, a feminist film is one with an agenda, a political work intended to spark thought and conversation about women’s social status and the female experience. It utilizes the female gaze and explores notions of femininity, sexuality, and feminist theory. As Biller writes, “to be feminist, a movie has to have the express purpose of educating its audience about social inequality between men and women.” Not just portray women in a non-misogynistic light.

One thing that’s important to remember – and is perhaps why we are always so eager to dub a film “feminist” just because it includes positive representation for women – is that just because a film isn’t feminist doesn’t mean it’s misogynistic. There’s a difference between feminism and equal female representation, and one doesn’t necessarily outweigh the other. When we call a work “feminist”, the reasoning behind it should be clear; not because the female lead is empowered or because she avoids a romantic storyline, but because it is expressly and intentionally feminist. To use this label for anything else only diminishes its valuable meaning, and hurts women in the long run. I certainly won’t be tossing it around anymore.