In my limited experience, in most instances when a woman's "voice" is determined by the gods of film theory to be "disinguishable," the film tends to wear the social/political agenda on its sleave, which happens to be one of my pet peaves. Such films invariably end up being exercises in preaching to the converted. If you are going to make a film that so explicitly lays out a specific victim-archetype in its preview (e.g., poor, young, African-American, lesbian in 'Pariah'), then don't expect to get your "message" out beyond the art movie houses on the coasts. (And maybe Dee Rees only has one narrow audience in mind.) But previews like 'Pariah' tell me that there will not be many dimensions to the character, and I am usually right (in my own opinion). To me, the worst sin that a film can commit is being both predictable and uninteresting (and that goes for victimhood-porn like 'Precious' as much as it does for comic book fare like 'Iron Man').
That said, I have been a big fan of Kelly Reichhardt since 'Wendy and Lucy,' Sofia Coppola since 'Virgin Suicides,' and Kathryn Bigelow since 'Near Dark.'