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The major European film festivals articulate aesthetic value with gender in distinctive ways. Historically, very few women directors gained entry to this elite world, despite the impact of second-wave feminism. But in the first decade of the twenty-first century, younger women filmmakers, many from outside Europe, began to receive prizes at A-list festivals. Opening with Jane Campion, the sole woman to have won the top prize at Cannes, this chapter asks what it takes for a woman to gain the prestige of a “cineaste.” Through case studies of Lucrecia Martel and Samira Makhmalbaf, it argues that the women who have...

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