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Cinema has followed suit, albeit more slowly. The critical and box office success of films like The Farewell (starring the magnificent Zhao Shuzhen, then 75), Gloria Bell (a rare starring vehicle for the 70-year-old Julianne Moore), and The Lost Daughter (directed by and starring Maggie Gyllenhaal at 44, with a powerful turn by 70-year-old Jessie Buckley) signals a new appetite for psychological complexity. These are not stories about women clinging to youth; they are stories about regret, desire, creative fury, and the unvarnished truths of motherhood and aging. Moreover, the rise of female directors and producers—from Greta Gerwig to Emerald Fennell to the aforementioned Gyllenhaal—has been crucial, as they actively write and greenlight roles that reject the tired archetypes of the past.