Maybe you have more artistic freedom than I do, but it is common for me to be asked to flatter certain actresses with lighting regardless of reality. I can sit there and argue on the set with the producers and the actress' hair & make-up people about the needs of the story or the reality of the scene and where the source lighting is coming from, etc. but that doesn't go very far when they only have one goal -- make the actress look her best. Yes, it dates back to the beginning of cinema, but the need hasn't changed today. It's my job to use all the lighting tricks I know to flatter the actress is a way that still works within the world of the movie and the established style, but given a choice between making the actress look good and being realistic with the lighting, most of the people I work for want be to choose the first so I just have to do it in a way that makes sense to me, that I can live with.
Sometimes it's a bit frustrating when I know what everyone wants me to do, which is to key her flatly right over the lens, but I'm trying to maintain some resemblance to reality. The trick is to design the blocking so that a source of light would naturally be front-lighting her face, or in an extreme backlighting situation, the light on her face would just be soft frontal ambience / fill. I've worked with some actresses who would stop acting a scene if they felt that the key light wasn't frontal enough for their tastes, and wait until it got moved right next to the camera. That can be frustrating in a space where the only light, for example, is coming from some windows to one side.
It's also hard now that cameras have become so sensitive that the light levels on set can be so low, like for a night interior with a real cityscape outside the windows -- I've keyed a person with a Lowell Rifa with three layers of net over the light, which has been dimmed down. The unit looks too dim to the eye to be providing a light but on the monitors, it looks like a bright light, so for the actress used to seeing a tweenie right over the lens or a 2K bounced into a 4x8 beadboard behind the camera, they can be unnerved with such dim lighting even though it is still coming from a flattering angle.
I see plenty of feature films made today in a naturalistic style where the leading actresses are always soft-lit frontally no matter whether it is a day or night scene, or set during a power outage!