f the women in the film Equity are the “She-Wolves of Wall Street,” the men may well be the hyenas, sneakily feasting on the carrion of the wolves’ spoils. Director Meera Menon offers a female perspective on the epitome of a bastion of male domination. Equity upends the very underpinnings of the financial thriller genre—the glorification (and conflation) of greed and power and the lionization of the “ol’ boy network” as the only interesting and significant players. Like The Big Short and Margin Call, Equity lets us look under the hood of the Wall Street machine, exposing the lifeblood to be as much “scoop” and “perceptions” as it is cold hard facts. The film asks, “Why are women not allowed to like money and to enjoy power?”, Or better yet, as Anne-Marie Slaughter asked, “Why Can’t Women Still Can’t Have It All,” (which, cheekily enough, is actually referenced in the movie).
Naomi Bishop, played with steely intensity by Breaking Bad’s Anna Gunn, is an investment banker adept in helping companies go public. Yet, despite her formidable portfolio, she is only as good as her last IPO, which was not particularly successful. Her smarmy boss’ explanation for why she won’t be getting a promotion is “the perception” that she “rubbed people the wrong way” on her last IPO and that this is “not her year”—very objective criteria, you see. So much for Wall Street’s reliance on data and not emotions. Determined to prove herself (how many times over!?), Naomi sets her sights on Cache, a social network that prides itself on its privacy controls. Unfortunately, there are far too many egos to coddle and no one in Naomi’s circle can be trusted personally or professionally.
Equity’s plot alone is certainly compelling and filled with the kind of tension viewers expect from the genre. The way in which the film provokes the audience into questioning assumptions about gender roles and the corporate environment, however, is its greatest asset. Naomi’s right hand woman Erin (Sarah Megan Thomas, one of the film’s producers) finds out she is pregnant. In one particularly memorable scene, Erin, in the middle of her ultrasound, wants to take a client’s phone call. Her husband pointedly rebukes her, telling her that the client would want Erin to “enjoy her sonogram.”
The film aims to make the viewers squirm and it does so with great aplomb, putting front and center so many of the assumptions about women and making the viewer question them not only in the context of the film but also in one’s response to their portrayal in the film. Meta indeed. This is what is so incredibly ground-breaking about the film–why are we made uncomfortable by Erin’s attitude toward her pregnancy as a nuisance that will ruin her career? Why do we assume Naomi wants to be single and childless and never notice the sacrifices she has made to get to play with the big boys? Why do we assume that women are not supposed to like money?
The way the men are portrayed in Equity is also quite interesting–one gets the sense that like hyenas, they stand by, awaiting to feast on the hard work of others. They are incredibly chauvinistic, paternalistic, but mostly bumbling and terribly inept. The head of Cache, the IPO Naomi launches, is the ubiquitous tech bro, more interested in eating expensive sushi with beautiful women than anything else. In her personal relationship with an investment banker, Naomi’s character shines as the kind of woman we rarely see in films–guarded with business matters and not quick to brag or tell anyone that will listen to her business, literally. The cause of her downfall is not the usual gullibility or lack of foresight–it is people betraying her or not trusting her. We get the sense that while Wall Street is a game, Naomi still plays by its rules. The ones seeking to break them are the men who created them.
Equity also excels is in portraying the process of a company going public in accessible, layman terms. In that sense, it also shows just how reliant the stock world is on gossip, hearsay, hunches, “perceptions,” and tips–the irony is not lost on the viewer, as these are the very things that have been labeled to be the hallmark of the “feminine.”
The film truly shines in upending commonly-held ideas about heroes and antiheroes…or should we say heroines. The women of Wall Street may inhabit a world utterly unfamiliar to us, but the way in which they are forced to navigate around the roadblocks constantly placed in their path will not be. If the film is feminist, it certainly does not blare its politics through a megaphone. The very existence of Naomi on Wall Street is already incredibly impactful and Equity shatters the glass ceiling of everything you might believe about them.