There is no doubt that filmmaking tends to be led by the blokes. So it’s a breath of fresh air that this year’s Venice Film Festival seems to be heralding a new dawn for female directors.

Indeed Mira Nair’s ‘The Reluctant Fundamentalist’, a tendentious exploration of 9/11, premiered at one of the most glamorous festivals in the circuit.

With only four out of seventeen directors having submitted films for the main competition, all vying for that covetable ‘Golden Lion’ prize, it would be great if it went to Nair.  She is one of only four women to have won the prize in 70 years, for 2001's 'Monsoon Wedding', joining Sofia Coppola in the ranks of past winners.

It could be said that with the penchant Venice has for art house film, women are in with a bigger chance. But the point here is surely, why on earth are there not more women in the film business?  Remember the fanfare for Kathryn Bigelow, the first woman to win an Oscar for Best Director. Women around the world were pounding out of their Prada’s with excitement. Who cares that it was a war film, it was won by a woman – how utterly marvellous!

I am not going to drivel on the feminist tirade of how unfair it is, and that we should all be treated as equals. No violins allowed here ladies. Yes, in film and the entertainment business (and lets face it quite a few other industries too), few of the executives will take a punt on a woman, but that’s life. Get over it, get moving and keep going. Even if it takes a Hollywood powerhouse like Angela Jolie to get behind the camera and raise awareness of our powerful and intuitive skills, lets do it!

There is nothing more irritating to me than those that stand on the side lines with banners and tissues, waving the flag of pity, for women’s rights. It’s simply weak ladies. If we can raise kids and run a home, our assiduous natures will prevail for most industries, especially the entertainment business.

And then there’s Miuccia Prada, the global fashion player and granddaughter of Mario Prada, founder of the fashion giant Prada. Miu Miu (her nickname incidentally) is not just your stereotypical fashion figure, this is a lady who holds a Ph.D in political science and chose to take over the world of fashion rather than concentrate on her academic routes. And now she’s turned her hand to the film industry as Venice witnessed last night (30th August).

Her acclaimed series of short films, the ‘Women’s Tales', were screened together for the first time as part of the Venice Film Festival’s Giornate degli Autori – Venice Days.

This is where it gets interesting. If the industry execs are not actively pursing the most creative female filmmakers then leave it to Miu Miu, who selected four leading international female directors for her short film platform.

Each of the four short films combine a credible filmmaking theme with a strong feminine point of view with fashion. To you men reading this story, this is the equivalent of Jeremy Clarkson appointing action film directors to make short films about luxury sports cars, where the V8 engine finesse and sweeping camera pans of the twin overhead camshafts sends you into a frenzy!

So ladies, and the fashionable men amongst you, there are four spectacular films in the series: ‘The Powder Room', directed by Zoe Cassavetes, ‘Muta’ directed by Lucrecia Martel, ‘The Woman Dress’, directed by Giada Colagrande and ‘It’s Getting Late’, directed by Massy Tadjedin.

In true Miu Miu style, there’s plenty of supporting creative expertise in the form of many stars of contemporary cinema – including Gemma Arterton, Patricia Clarkson, Aubrey Plaza, Rinko Kikuchi and Maya Sansa – leading the all-female casts. Music is provided by some of the industry’s finest new talents, including Au Revoir Simone and Zola Jesus.

Each of the films cleverly evoke the theme of being a woman. Each director applies their distinctive point of view through their particular film’s style, choosing a variety of diverse sets from London, to LA, to a witches’ cavern and a mysterious ship. There’s without a doubt an element of film noir, which creeps through with some illustrious melodramatic moments.

And what’s a fashion film without product placement, with the Miu Miu accessories, sunglasses and key looks from ready-to-wear collections all beautifully showcased in their leading roles. But it’s cleverly done with each item working as important plot devices and very much central to the narratives.

Yes, Miu Miu knew what she was doing here. Very much like in her business where her trademark of working with unusual fabrics and making clothes that are minimalistic, graceful and yet cool, she’s captured another fine set of movie making skills in this fourth instalment of film in this wonderful series. I applaud her tenacity and savoir-faire for getting it right. It’s a bit like when many on the front row were left aghast when she sent out loud contrasting prints in her Autumn/Winter 2012 show. But before you knew where you were, Florence Welch had dropped the floaty kaftans and picked up with the look, black pumps with contrasting heel, purple quilted Miu Miu clutch and boom – nailed it! But like all good looks – it doesn’t mean you and I can pull it off, but on the right person it just simply works. Just like the Miu Miu Women’s Tales – they just work!