1 “How can I be too high in rank to dine with the servants, but too low to dine with my family?”: Intersectionality and Postfeminism in Amma Asante’s Belle Jessica Taylor Films with historical settings arguably constitute sites of resistance to the relentlessly individualising discourses that shape neoliberal popular culture. Given that, as Naomi Rockler argues, ‘[g]ender, race, and other power disparities commonly are discussed as problems of the past that have been eradicated and replaced with equality’, depictions of the past that draw attention to such inequalities can function to make analysis and critique of systemic discrimination speakable and mainstream. 1 Indeed, many historical films take institutional discrimination or oppression as their foundation and are then fleshed out by the familiar narrative of the hero’s journey. 2 While narrative cinema and the trope of the hero’s journey are particularly individualising formats, the repeated depiction of oppression and discrimination in historical films as specifically linked to institutionally-sanctioned policies based on hierarchical social structures (most often related to gender, race and/or class) highlights the need for structural critique in a way not necessarily seen in films with more contemporary settings. Within the broader genre of historical films, films that tell women’s histories and depict female protagonists offer a particular version of radical potential, often inflected by or made meaningful through feminist frameworks. As Sophie Mayer compellingly argues,