On 30 July 2007 Ingmar Bergman died; Michelangelo Antonioni followed him within a few hours in what seemed an event staged in a sublimely ironic scenario. The uncanny coincidence of these deaths resonates with both truth and fiction, as if truth and fiction could not be told apart. It is precisely this coincidence that I investigate here in connection with the cinematic representation of femininity. The main argument centres on the assumption that in femininity the exclusionary logic is absent. Femininity undermines the masculine field by abolishing the fracture between the Symbolic and the Real, thus depriving the Symbolic of its founding excess.