Önce Kadınlar

Directed by Thea Sharrock, Women First is a fantasy comedy that takes a sardonic look at gender dynamics. While it may appear to be a contemporary reimagining of the 2000 Mel Gibson film What Women Want, it actually adopts a far more radical approach. The film follows a womanizing man who views women as commodities in a male-dominated world, only to find himself transported to a parallel universe where the roles are completely reversed. This concept can be seen as a significant cinematic experiment, particularly in the context of how film language has evolved in the wake of the MeToo movement.

Sacha Baron Cohen plays the most vulnerable and marginalized character of his career. Known for provocative roles like Borat and Brüno, the actor embarks on an entirely different kind of journey here. His character, Oliver, is a quintessential alpha male defined by money and power, who sees women as nothing more than status symbols. But when he wakes up one morning, he finds himself in a world where women hold all the social, economic, and sexual power. In this parallel universe — where men are catcalled on the street, judged by their appearance in job interviews, and have their ideas dismissed in meetings — Oliver confronts the disadvantages of his own gender for the very first time.

Rosamund Pike is impressive as Victoria, the powerful businesswoman Oliver encounters in this new world. Unlike her cold, calculating character in Gone Girl, Pike here plays a female boss who has fully internalized society's norms — essentially the same toxic boss archetype found in male-dominated workplaces, only with the gender flipped. This is the film's cleverest move: rather than settling for simple misandry, Sharrock demonstrates that the corrupting influence of power knows no gender.

The screenplay offers sharp and genuinely entertaining observations in its first half hour. Scenes in which men feel compelled to wear makeup, high heels, and form-fitting clothing are both funny and thought-provoking. In the second half, however, the script loses momentum. The parallel universe concept is never fully developed, and Oliver's transformation feels rushed and superficial. What exactly he has learned — and how he has changed — upon returning to the real world remains frustratingly vague. This is the film's greatest shortcoming: it has a strong premise but can't sustain it through to the end.

Thea Sharrock comes from a theatrical background and found success in romantic drama with Me Before You, but Women First marks her first foray into fantasy comedy. Visually, she distinguishes the two worlds through contrasting color palettes: the real world is rendered in cool blues, while the parallel universe draws the eye with warmer pinks and oranges. It's perhaps a somewhat clichéd choice, but it works. The cinematography, on the other hand, offers nothing particularly distinctive, adhering faithfully to conventional comedy filmmaking.

Supporting performances from Tom Davis and Emily Mortimer add color to the film. Davis in particular, playing Oliver's colleague in the parallel world — a male character who exhibits traditionally feminine behaviors — is handled without resorting to stereotypes. Weruche Opia makes a strong impression in a brief role as a mysterious figure who guides Oliver through this new world. Charles Dance's cartoonish turn as a boss, meanwhile, reflects the film's broader tonal inconsistencies.

The score is the work of Anne Dudley, a seasoned composer with a strong track record in British comedy, including The Full Monty. She takes a similar approach here, blending light orchestral themes with pop elements. However, the music tends to decorate scenes rather than deepen their emotional resonance.

The film is briskly edited and moves through its 94-minute runtime without ever becoming dull. But that pace occasionally comes at the expense of character development. Oliver's inner world, in particular, needed more room to breathe. Several supporting characters feel underdeveloped, present only because the plot requires them to be.

An interesting behind-the-scenes detail: the film was shot in post-pandemic London with a crew that included a female director, female producers, and a predominantly female technical team — a choice that aligns neatly with the film's themes. Sacha Baron Cohen also shaved his trademark beard and mustache entirely for the role and lost weight to project a softer, more vulnerable appearance. Pike, meanwhile, prepared for her character by conducting interviews with female executives working in the finance sector.

Ultimately, Women First is a film that sets out with a bold concept but fails to fully realize its potential. Its attempt to address gender inequality through comedy is commendable, but the screenplay lacks sufficient depth. Sacha Baron Cohen's unconventional performance and a handful of sharp observations make it worth watching, though a story like this deserved a darker and more daring treatment. That said, for those simply looking for a light and enjoyable Saturday night watch, it fits the bill.