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The 1970s and 80s offered a few anomalies—the fierce independence of Katharine Hepburn in On Golden Pond , the gritty realism of The Killing of a Chinese Bookie's older characters—but these were exceptions. The dominant trope was the "cougar" (a predatory, sexualized older woman) or the fragile, forgettable mother of the hero. Actresses like Meryl Streep, though brilliant, often noted in interviews that after 40, the scripts arrived wrapped in apron strings, not agency.

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Halfway through the screening, during a long, unbroken shot of Celia’s character singing Verdi in a crumbling chapel, her voice raw and powerful, the audience forgot to breathe. Mira felt a hand slip into hers. It belonged to a nineteen-year-old production assistant who was crying. "That's what I want," the girl whispered. "Not to be pretty. To be that." The 1970s and 80s offered a few anomalies—the