The August theatrical slate is, to put it generously, having a rebuilding year. Between the anniversary re-releases and the fourth entry in a horror franchise nobody asked about, there is very little in a cinema right now that will make you feel anything except cold, which in fairness is the point of a cinema in August.

So this is the other kind of list. Ten films about women who are good at something, most of them sitting on whatever you already pay for, all of them a better use of an evening than scrolling for forty minutes and going to bed annoyed.

A note on what did not make it. There is a whole genre of film about women overcoming adversity that I find exhausting, where the character exists mainly to suffer photogenically and learn a lesson in the third act. None of that is here. These are films about women who want things, pursue them competently, and are occasionally quite difficult about it.

Working Girl (1988)

Mike Nichols made the definitive film about ambition and nobody has really improved on it since. Melanie Griffith is a secretary from Staten Island with better ideas than the people above her, Sigourney Weaver is the boss who steals one of them, and the whole thing is sharper about class and office politics than its reputation as a fun eighties comedy suggests. The hair is enormous and the observations about who takes credit for whose idea have aged alarmingly well, which is either encouraging or depressing depending on the week you are having.

The Devil Wears Prada (2006)

You have seen it. Watch it again with attention on Miranda rather than Andy, because the film is much stranger and more interesting than the fashion montage version everyone remembers. Meryl Streep is playing a woman who is exceptionally good at a job that requires her to be difficult, and the movie declines to punish her for it, which was quietly radical in 2006 and remains fairly uncommon now.

Erin Brockovich (2000)

Julia Roberts won the Oscar and deserved it, but the reason to rewatch is the specific pleasure of watching somebody with no credentials whatsoever out-work an entire legal department because she is willing to read every single document. Soderbergh directs it like a thriller. It is fundamentally a film about competence, which Hollywood finds far harder to dramatize than heroism and attempts far less often.

Frances Ha (2012)

Greta Gerwig plays a dancer in her late twenties whose career is not happening, whose best friend has moved on, and who keeps making small confident decisions that turn out badly. Shot in black and white, funny in a way that quietly sneaks up on you, and the only film I know that is honest about the particular loneliness of watching a close friendship change while you are still standing in the same place.

Little Women (2019)

Greta Gerwig again, and the version that finally takes Jo's ambition seriously as ambition rather than as a phase. The scene where she negotiates the copyright on her own book is one of the best things committed to film about money and creative work, and Florence Pugh's Amy gets a speech about marriage as an economic arrangement that reframes the whole novel. It wants to be watched in autumn with something warm in your hands, and August will do at a push.

Hidden Figures (2016)

Three mathematicians at NASA in the early sixties, played by Taraji P. Henson, Octavia Spencer, and Janelle Monáe, doing calculations that put men into orbit while being made to walk half a mile to use a bathroom. It is warmer and considerably funnier than the subject matter suggests, and the sequences where the mathematics actually happens are shot with real excitement, which is a thing films almost never manage to do with work itself.

Julie & Julia (2009)

Nora Ephron's last film and an underrated one, largely because everyone remembers the Julie half and the Julia half is extraordinary. Meryl Streep plays Julia Child arriving in Paris in her late thirties with no profession and a great deal of enthusiasm, and building one from nothing over the following decade. If you are thirty four and quietly wondering whether it is too late to change direction, this is the correct film for a Sunday afternoon.

Joy (2015)

David O. Russell's film about Joy Mangano, who invented a mop and built a business, is uneven and occasionally chaotic, and Jennifer Lawrence is so good in the middle of it that none of that matters much. The scenes about manufacturing runs, patent filings, and the very particular humiliation of being underestimated in a room full of men holding your own product are worth the price of the entire uneven thing around them.

Nyad (2023)

Annette Bening plays Diana Nyad attempting to swim from Cuba to Florida in her sixties, with Jodie Foster as the coach who keeps telling her the truth. It is a film about wanting something at an age when you are supposed to have stopped wanting things, and about a friendship between two women that is prickly and unsentimental and completely convincing. Both performances are remarkable, and the film is refreshingly uninterested in whether you find either woman likeable.

9 to 5 (1980)

Jane Fonda, Lily Tomlin, and Dolly Parton against a boss who deserves everything he gets. It is a broad comedy containing a fantasy sequence and an accidental kidnapping, and it is simultaneously the funniest film ever made about office life. The workplace grievances it catalogs in 1980 have a way of feeling uncomfortably current somewhere around the second viewing, which is its own kind of commentary.

How to Actually Watch Something

The reason nobody watches these is the twenty minutes of scrolling that happens first, so remove that step entirely. Pick two from this list on a Sunday while you are calm and undecided about nothing, add them to a watchlist, and then on Wednesday night open the watchlist instead of the home screen. The decision has already been made by a better rested version of you.

Start with Working Girl if you want something with energy, Frances Ha if you want something that understands the specific mood, and Nyad if what you actually need is somebody on screen refusing to be reasonable about a goal.

August has a little over three weekends left in it. That is six evenings, and you have already read this far, which suggests you were looking for permission to spend one of them on a film from 1988 with excellent hair. Consider it granted.