{"id":9162,"date":"2026-05-18T11:48:00","date_gmt":"2026-05-18T11:48:00","guid":{"rendered":"https:\/\/rjbarrett.redirectme.net\/?p=9162"},"modified":"2026-05-18T11:48:00","modified_gmt":"2026-05-18T11:48:00","slug":"julianne-moore-pushes-for-more-stories-centering-the-female-pov-at-kering-women-in-motion-awards-i-f-ing-love-actresses","status":"publish","type":"post","link":"https:\/\/rjbarrett.redirectme.net\/?p=9162","title":{"rendered":"Julianne Moore Pushes for More Stories Centering the Female POV at Kering Women in Motion Awards: \u2018I F\u2014ing Love Actresses\u2019"},"content":{"rendered":"


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Julianne Moore has received plenty of accolades throughout her 40-year career \u2014 an Oscar, an Emmy, plus awards from Berlin, Venice and Cannes, to name a few \u2014 but the Kering Women in Motion award is unique. This prize, launched in 2015 by Kering in association with the Cannes Film Festival, celebrates how cinema can advance the role of women in society \u2014and that\u2019s a mission close to Moore\u2019s heart.<\/p>\n

\u201cI fucking love actresses,\u201d Moore declared in the middle of an impassioned speech about the need for more stories centering the female POV, looking out at a crowd that included actresses like Demi Moore, Ruth Negga, Vicky Krieps, and past Women in Motion honorees Salma Hayek Pinault and Isabelle Huppert.<\/p>\n

\u201cThis is something that makes me crazy,\u201d Moore said when she stepped to the podium at the Place de la Castre in Cannes to receive the award on Sunday evening. \u201cThere is a cultural assumption, particularly in the United States, that women\u2019s stories are less interesting or smaller, or that if we\u2019re at the center of a narrative, we need to be strong or accomplishing something great, or doing something that is particularly male, if we want someone to watch us \u2014 if we want men to watch us. And I think that\u2019s untrue.\u201d<\/p>\n

It\u2019s an assumption that totally ignores the female audience and what they want to watch, Moore explained. Not only does she choose what cinema she wants to watch based on who she\u2019s going to be looking at for two hours, but she also tries to center women as she navigates her everyday life.<\/p>\n

\u201cI see the women in my elevator, on the subway, and in the airport. If I need information, I approach a woman,\u201d she said. \u201cWhen my kids were little, I told them, if you\u2019re ever lost or in trouble, to look for a lady, she will help you. I read books about women. My yoga group is all female, and all of my representatives, my agents, and my managers are female.\u201d<\/p>\n

\u201cI\u2019m not saying this to be particularly binary,\u201d Moore continued.\u00a0 \u201cOr to say the relationships I have with men or male-identifying people are not important to me, but to celebrate the fact that female point of view matters, matters to me, and that\u2019s paramount in storytelling. What is the point of view, and how is it specific? I feel it as an actor when the story and direction are specific, and the audience feels it too.\u201d<\/p>\n

There\u2019s a troubling narrative about invisibility for women, Moore noted, both in cinema \u2014 where recent statistics show that just 37.1% of roles were played by women and only 9 women out of 111 directors helmed top-grossing films in the U.S. in 2025 \u2014 and in the wider world.<\/p>\n

\u201cI\u2019m always curious about that narrative. I want to know where they feel invisible, why they feel invisible, and have we been cultured to only be seen by a particular audience, or to only value that gaze,\u201d Moore said. \u201cI\u2019m also curious at times when I don\u2019t want to be seen, when I want to avoid any gaze, and that\u2019s a lot of the time. But I am always interested in what I want to see. I am more curious about what I observe, what I learn, and what I experience through my own lens. And that\u2019s the most important thing of all: what we as women see, and what we are here to celebrate tonight.\u201d Moore ended her remarks with a simple call to action: \u201cWe need more female voices in our industry, more writers, more directors, more actresses to carry that vision forward.\u201d<\/p>\n

\"Kering\"Kering
Laura Wandel, Salma Hayek Pinault, Margherita Spampinato, Julianne Moore, Demi Moore, Chlo\u00e9 Zhao and Ruth Negga<\/p>\n

Fortunately, with accepting the Women in Motion Award, Moore joins a unique sorority of changemakers committed to carrying that banner \u2014 including Jane Fonda, Geena Davis, Susan Sarandon, Patty Jenkins, Gong Li, Viola Davis, Michelle Yeoh, NBCUniversal Entertainment & Studios chairman Donna Langley and her \u201cThe Hours\u201d co-star, Nicole Kidman.<\/p>\n

Moore was presented with the award by Cannes president Iris Knobloch \u2014 who opened the dinner with remarks about the importance of \u201cturning visibility into real opportunity\u201d for women \u2014 and Cannes chief Thierry Fr\u00e9maux \u2014 who saluted her for her involvement in political life as well as cinema. Fr\u00e9maux then introduced a reel of Moore\u2019s performances, including \u201cMagnolia,\u201d \u201cBoogie Nights,\u201d \u201cNine Months,\u201d \u201cHannibal,\u201d \u201cFar From Heaven,\u201d \u201cA Single Man,\u201d \u201cCrazy Stupid Love,\u201d \u201cThe Kids Are All Right,\u201d \u201cMay December\u201d and the Oscar-winning \u201cStill Alice.\u201d<\/p>\n

The clip reel was a treat for Moore, who giggled, \u201cThat\u2019s like watching your life flash before your eyes,\u201d and the well-heeled crowd on hand to salute her. \u201cI\u2019m such a fan, I got so shy when I walked in and saw her,\u201d Halsey told Variety on the black carpet. \u201cShe can play everything,\u201d Charlotte Le Bon said, choosing \u201cMagnolia\u201d and \u201cSafe\u201d as her favorite of the actress\u2019s performances. Harry Melling mentioned \u201cThe Big Lebowski\u201d as a standout: \u201cIt\u2019s just a cameo, but my word, she\u2019s absolutely extraordinary in it.\u201d<\/p>\n

This year, Moore was feted alongside Italian filmmaker Margherita Spampinato (\u201cGioia Mia\u201d), who received the Emerging Talent Award, which recognizes a female director for her first feature film. The prize comes with a \u20ac50,000 grant to support the filmmaker in making their second feature. Last year\u2019s Emerging Talent Awardee, Brazilian director Marianna Brennand, presented Spampinato with the honor.<\/p>\n

\u201cI am grateful and happy to receive this special prize,\u201d Spampinato said onstage. \u201cThis award moves me because it supports the creativity and freedom of new female voices in cinema and art around the world. The mixture of talent, together with financial support, represents an important milestone that women are beginning to achieve today, despite the inequality that still exists in the industry.\u201d<\/p>\n

Spampinato said she looks at the Kering award as \u201cencouragement to continue telling the stories I love and I believe in.\u201d Her film, \u201cGioia Mia,\u201d she explained, is inspired by her grandmother, her grandmother\u2019s cousins and her close friends, who helped shape her imagination. \u201cI\u2019m sure that they will be happy and proud to know that we are receiving this award, and that the world, at last, is beginning to change.\u201d<\/p>\n

Attendees at the black-tie gala included Jordan Firstman (whose film \u201cClub Kid\u201d sold in a massive deal to A24 on Monday Morning), Sebastian Stan (\u201cFjord\u201d), Odessa A\u2019zion, Diego Calva (\u201cClub Kid\u201d), Harris Dickinson, Colman Domingo, Daisy Edgar-Jones, Halsey, Vicky Krieps (\u201cDiamond\u201d), Le Bon (\u201cFull Phil\u201d), Rami Malek (\u201cThe Man I Love\u201d), Melling (\u201cButterfly Jam\u201d), Jeremy Pope and \u201cHer Private Hell\u201d stars Sophie Thatcher, Havana Rose Liu and Kristine Fr\u00f8seth. Director Park Chan-Wook and the festival\u2019s competition jury, including Stellan Skarsg\u00e5rd, Laura Wandel, Chlo\u00e9 Zhao, Diego C\u00e9spedes, Isaach De Bankol\u00e9 and Paul Laverty also attended the chic celebration. Scroll on for a look inside.<\/p>\n