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Despite these challenges, the narrative is shifting as mature women demand—and receive—more multi-layered roles.
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Nicole Kidman’s provocative performance in Babygirl — a film about a powerful married CEO who falls into a passionate affair with a much younger intern — pushes boundaries even further. At 57, Kidman leads an erotic thriller that explores female desire, kink, and power dynamics in ways rarely seen on screen. She described the role as the most exposed she has ever felt, noting that the film is “not a thing that normally is going to be seen by the world”.
Davis is a force of nature. Her intense, physical performance in The Woman King (at 57) involved nine months of stunt training, proving that mature women can anchor an action epic. She has openly spoken about the "wall" she hit in her 40s and how she rebuilt her career by producing her own content—a crucial lever for change.
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The data suggest that while high‑profile awards are celebrating older women, the everyday pipeline for roles remains deeply uneven. The number of films with female protagonists actually from 42% in 2024 to 29% in 2025, despite the award‑season buzz. And as the Geena Davis Institute recently highlighted, menopause — a nearly universal experience for women — appears in only 6% of top‑grossing movies over a 15‑year period, and often as a joke rather than a meaningful part of a woman’s story. This invisibility reinforces the message that the real experiences of women over 40 are not worthy of serious cinematic exploration.
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More recently, in 45 Years (2015) and Isabelle Huppert in Elle (2016) shattered the remaining taboos. Huppert, in her 60s, played a character who is a victim, a predator, a CEO, and a sexual being—all within the same frame. Suddenly, the "unlikeable older woman" became the most fascinating protagonist in cinema.
