Diane Lane won the Sarasota Film Festival’s Award for Cinematic Excellence on Saturday for her work in Eleanor Coppola’s first feature film, Paris Can Wait. The movie premieres May 12, which gives Lane the perfect press tour opportunity to reflect on the need for women directors.
In an interview with Deadline, Lane discusses her role in the film as a woman who realizes her husband, a producer played by Alec Baldwin, is cheating on her while they’re traveling to see a new film location in France. The movie follows Lane’s character as she is also tempted to stray from her marriage vows.
It apparently ends on some sort of cliffhanger and Lane asserts that the film isn’t “an indictment of the choices” someone might make in such a situation. When Deadline asks if the material would have been handled differently by a man director, she doesn’t say yes, exactly, but does seem to insinuate we need more movies by women about women to compare:
I’ve often thought about the films I’ve been in that were helmed by men, written by men, filtered through the editing process of the male eye and psyche and desire factor and marketability concerns…it’s so interesting. I’m left with the hope and wish that there will be enough to go around. Are we asking terribly much of people to be curious and interested in the female experience from the female perspective?
Her response to a question about how American and Parisians view morality in regards to sex and marriage is as interesting and open ended:
Americans have an interesting conundrum, a black and white line: You’re on one side or the other of Puritanism or licentiousness. But that gray area where people abide, between their ears or on the Internet, needs to be fleshed out more in terms of permission granted. I think a lot of women are contained within the parentheses of shoulds and role-play. It’s all about entitlement and history. It’s all about upper-body strength – and exacting your will.
Here’s to flexing a little in the gray area, ladies.