I hope that one day, I won’t be giddy and dancing around the kitchen when I read that women represent nineteen percent of non-acting Oscar nominees. Then again, I hope I never lose faith in little victories and small, integral change.

Three of the eight films that were nominated this year for Best Picture are about women, and strong ones, at that. ("Brooklyn," "Room," and "Mad Max")This 37.5 percent is largely progressive, in comparison to last year’s zero. ("American Sniper," "Birdman," Boyhood," "The Grand Budapest Hotel," "The Imitation Game," "The Theory of Everything," "Selma," and "Whiplash").

In joyful, revolutionary news, Sharmeen Obaid-Chinoy won the Oscar for Best Documentary on a Short Subject for her piece, “A Girl in the River: The Price of Forgiveness,” about the tragic truth in Pakistan’s honor killings. To applause, she beamed, “This is what happens when determined women get together.” After much-spoken gratitude, she concluded, ”This week, the Pakistani Prime Minister has said that he will change the law on 'honor killing' after watching this film. That is the power of film." We need these women. We are lucky to know their work.

Gender discrimination is deep-rooted across most industries. Hollywood, a supposed liberal community, is a circus-sized reflection of this. Not to mention, its long-lasting grooves of an overall lacking of inclusive - I am deeply sorrowful to see that no women, or men, of color, were nominated this year.

I am proud, then sad, when I sift through my growing collection of film stubs. “Room,” Brie Larson’s rightfully Oscar-winning performance, is about the escape and life of a woman who has been held captive in an enclosed space for seven years with her 5-year-old son. “Brooklyn” is the story of strong, sensitive Eilis Lacey, an Irish immigrant who is “away to America” in 1952. “Wild” is based on the true story of Cheryl Strayed, who walked 1,100 miles of the Pacific Crest Trail to heal. The pile goes on, but all of these bold, beautiful female narratives are directed by men. It is only “Suffragette,” a film that took six years (a sliver of the centuries it took women to granted the right to vote) to be supported and made, by a woman, talented Sarah Gavron.

Amma Asante, who won the Women’s Media Center award for directorial excellence, is honest and hopeful in declaring, “The number of women film directors, especially black female directors, is abysmally low in an industry that too often is insular and resistant to change…it’s important to change the narrative for little girls so that they can picture themselves in the director’s chair — a position of strength, power and prestige.”

When I was younger, ”The Wizard of Oz” was my favorite film, all painted in ruby red and emerald green. I remember swooning over 1939 Technicolor poppy fields, but I was confused by the title. It was Dorothy’s story, not the Wizard’s.

I “directed” many stories in the suburban, Californian house I grew up in, including Dorothy’s. Some other favorites were: morning talk shows (made up mostly of spit takes and dance parties,) "The Little Mermaid" (full of ballerina fish,) and, at least, three living room productions of "Peter Pan." We were a ragtag crew of siblings, both blood and honorary, happy and sweaty in one place. It was magic.

Then, I turned twelve. Maybe thirteen. I started worrying about taking up too much space. I started thinking a lot about being “bossy.” I got very quiet.

I’m twenty now. I write every day. I can creatively control a room with my voice again. At least, I’m learning to.

I hope there are little girls out there with cameras in their hands. I hope they know their stories are as important as their brothers.