The change is statistical. A 2022 study by the Annenberg Inclusion Initiative at USC found that while progress is glacial, the number of films featuring female leads over 45 has nearly tripled since 2010. But statistics only tell part of the story. The real shift is qualitative. We have moved from the archetype of the mature woman as supporting wisdom (the Meryl Streep in The Devil Wears Prada model) to the mature woman as chaotic, erotic, vengeful, and deeply flawed protagonist.
Consider the landscape of 2023-2024 alone. Emma Stone (35, but playing a monstrous, infantile aristocrat in Poor Things), Lily Gladstone (37), and Sandra Hüller (45) delivered some of the year’s most searing work, but the true anchors of gravitas were women like Helen Mirren (78) commanding Golda, Annette Bening (65) swimming the Nyad, and Julianne Moore (63) giving a career-best performance in the twisted family drama May December.
The latter is a perfect case study. Moore plays Gracie, a woman who had a tabloid-bait affair with a seventh-grader when she was 36. The film refuses to make her a monster or a victim. She is a complex, often unlikable, deeply vulnerable, and manipulative woman in her 60s. This is a role that simply would not have been written for a woman her age twenty years ago. She would have been the scandalized mother, not the scandal itself.
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Historically, when mature women were given the spotlight in mainstream cinema, it was usually through a narrow, often demeaning lens: the predatory "cougar," the hysterical spinster, or the saintly grandmother. These were caricatures, not characters. The change is statistical
Today, that trope is dead. Streaming platforms and independent studios have realized what audiences have known all along: women over 50 have lived rich, complicated lives, and those stories sell.
Consider the seismic impact of The Queen’s Gambit (2020). While Anya Taylor-Joy was the face, the emotional spine of the story was often carried by older women. But more importantly, look at shows like Grace and Frankie. For seven seasons, Jane Fonda (84) and Lily Tomlin (82) proved that a show about 70-something women navigating divorce, dating, and business could be a global phenomenon. It wasn’t a niche "senior" show; it was a sharp, hilarious, heartbreaking study of friendship.
In film, the success of The Lost Daughter (directed by Maggie Gyllenhaal, 44, but starring Olivia Colman, 48) showed that a story about a troubled, intellectually fierce middle-aged woman could be awards bait. Colman’s character, Leda, is allowed to be unlikable, selfish, and haunted—qualities usually reserved for male anti-heroes. The real shift is qualitative
Perhaps the most radical territory being reclaimed is desire. For decades, cinema decreed that a woman’s sexuality ended at menopause. If an older woman was sexual, she was either a predatory figure (Mrs. Robinson) or a joke. That trope is being systematically dismantled.
The recent films of French cinema, which has always been more generous to older actresses, have influenced Hollywood. Isabelle Huppert, at 70, continues to play sexually liberated, dangerous women (see The Piano Teacher or Elle). Now, American and British cinema is following suit. Emma Thompson, in Good Luck to You, Leo Grande (2022), played a 55-year-old widow who hires a sex worker to experience her first orgasm. The film was praised not as a scandal but as a gentle, funny, and profoundly human story about pleasure and self-knowledge.
Similarly, the TV series Grace and Frankie (Jane Fonda, 86, and Lily Tomlin, 84) spent seven seasons proving that stories about sex, friendship, and business in one’s 80s could be both hilarious and commercially viable. The message is clear: desire does not have an expiration date, and audiences are hungry for that truth.