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Five years ago, while she watched and rewatched 1970s and ‘80s crime genre classics, certain scenes lingered with filmmaker Julia Hart: the moment the study doors close on Diane Keaton’s Kay in “The Godfather,” shutting her out of her husband’s inner circle; how Tuesday Weld’s Jessie is abruptly shuffled into a car in the dead of night and sent away from the action, an infant in her arms, in “Thief.” Female characters in movies like these often exist in service to a male protagonist’s story – when they aren’t pushed out of the narrative completely. (Or rendered mostly silent, as in Martin Scorsese’s more recent “The Irishman.”) Devouring these films with her husband, co-writer and producer Jordan Horowitz, shortly after the birth of their first child, Hart wondered about the women left to the margins of the stories on-screen.

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