Valentine’s Day picks for women

This Valentine’s Day treat yourself to a romance or romantic comedy that has much to offer female viewers. Instead of settling for regressive narratives packaged as great love stories, indulge in a truly enjoyable movie, preferably with a huge bowl of popcorn and a box of chocolates.

The romance/romantic comedy and drama genres have better offerings. The following movie picks include a few (and sometimes all) of the following: a female gaze, several significant female characters, affection and congeniality between females (not just antagonism), exchanges between women about things besides men—not to mention an absence of violence against women and girls (VAWG) and hypersexualization of the female characters. These picks do not all contain every one of these inclusions (and exclusions) but they are all enjoyable and have much to offer female viewers.
 
Click on the underlined text to watch enjoyable clips from these movies.
 

1. Little Women (2019): If you can handle a Christmas movie in February you will be rewarded with a feast for female viewers from director Greta Gerwig. The female protagonist is strong and assertive, it boasts several significant female characters, as well as congeniality, affection and supportiveness between women and women speak throughout. It also offers a female gaze, close relationships between sisters, a critical look at sexism, etc.
2. Last Christmas (2019): Another Christmas movie, true, but it has a female gaze and so much more. It includes affection, congeniality and many exchanges between women, lesbianism for women’s viewing pleasure—as opposed to men’s, an unconventional ending, etc. Emma Thompson co-wrote it (practically a guarantee of excellent screenwriting).
3. Austenland (2013): Over and above the affection, congeniality and exchanges between the female characters we get disapproval of women’s so-called ‘expiry date’. Rudeness and men’s blameworthy behaviour towards women are portrayed disapprovingly. Written and directed by Jerusha Hess (co-writer: Shannon Hale).
4. The Best Exotic Marigold Hotel (2011): Despite the lack of female involvement in the writing/directing we get narration by a woman, several elderly female protagonists (still too rare in mainstream movies), assertive women, many exchanges between women, etc.
5. Bewitched (2005): It includes a female gaze, a disapproving look at men silencing women in show business, etc. Men’s blameworthy behaviour towards women is portrayed disapprovingly and women spend time together. Enjoyable (and I'm not even a Will Ferrell fan). Written and directed by Nora Ephron (co-writer: her sister, Delia Ephron).
6. Pride & Prejudice (2005): Deborah Moggach wrote the screenplay for this adaptation of Jane Austen’s beloved story. We get a female perspective, 10 significant female characters, as well as loving relationships, congeniality, solidarity and numerous exchanges between women, etc.
7. My Big Fat Greek Wedding (2002): It includes many strong and assertive women, congeniality and affection between women, a good mother/daughter relationship, etc. Also, characters challenge sexist stereotypes. Written by Nia Vardalos.
8. 10 Things I Hate About You (1999): A story about teenagers but still enjoyable. Among the high points: a female gaze; a smart, articulate, assertive lead female; a female freethinker is portrayed approvingly (so rare); and focus on a girl’s post-secondary education (rarer still). Written by Karen McCullah Lutz and Kirsten Smith.
9. Sense and Sensibility (1995): High points include a female perspective; eight significant female characters; solidarity, numerous exchanges and loving, affectionate relationships between females; and congenial mother/daughter relationships and relationships between sisters. Screenplay by Emma Thompson.
10. Sleepless in Seattle (1993): High points include a loving friendship between two women, women spend time together, focus on what women look for in men, a popular misconception about women is challenged, etc. Nora Ephron directed and co-wrote.
11. Dirty Dancing (1987): High points include a female perspective, solidarity and exchanges between women and narration by a woman. Written by Eleanor Bergstein.

​Copyright © 2023 Alline Cormier