From KCRW, I'm Kim Masters, and this is The Business.

American independent filmmakers might envy Celine Siama,

director of the French film Portrait of a Lady on Fire.

She had no problem getting funding for her lesbian romance set in the 18th century.

And for that, she credits France's support for filmmakers.

We have this great system, but this system has consequences.

It's the fact that it's very bourgeois, very also old, white, male-driven.

And I think there's a resistance when, you know, I understand why we are dangerous.

Siamma tells us about the contradictions of filmmaking in France,

a country that funds breakthrough female directors, but also celebrates Woody Allen and child rapist Roman Polansky.

She talks about discovering that women painters and feminist art critics were thriving in the 1700s, and she breaks down the detailed choreography that goes into planning sex scenes in her films.

But first on the news banter, The Hunt is back on.

Stay tuned, it's the business from KCRW.

I am joined by my partner in banter, Matt Bellany of the Hollywood Reporter.

Hello, Matt.

Hi there.

So The Hunt.

You know, I wrote about The Hunt back in August.

This was a movie that's from Jason Blum.

He is the guy behind a whole array of films, The Purge movies, Get Out, Whiplash, lots and lots of movies.

The Hunt is a movie that was meant to be a satire. It was elites who kidnap so-called deplorables, that's a word used in this film, which I have now seen,

putting them on this remote manner and hunting them. And they give them weapons, but it's not really a

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