Yeoh’s career serves as a rebuke to ageist casting. By securing leading roles well into her 50s and 60s, she bridges the gap between Asian cinema’s relative respect for seniority and Hollywood’s historical neglect.
For too long, mature women in cinema fit into two vile boxes: the predatory cougar ( The Graduate’s Mrs. Robinson ) or the wise, sexless crone ( Cinderella’s Fairy Godmother ). The modern era has burned those boxes.
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