Skip to main content

You CANNES Not Be Serious!



Well, that was quick---  FilmDirecting4Women have set up a petition. You can sign it nowalongside women like Kay Armatage and venerable filmmaker Su Friedrich, and enjoy the comments (my favorite so far is Agata Nowakowska's "Pfff, this is ridiculous!") AND you can join the Facebook site and follow the tweets. You can also follow Melissa Silverstein’s tweets and her blog posts at Women & Hollywood.
And you can buy a protest Tshirt. All profits from t-shirts sales go to Film Directing 4 Women's soon-to- be-launched production fund which will back short films directed by women directors.
And here's another blog post about the issue. And another tweet, referring to a Telegraph article (with a closeup of radiant Kathryn Bigelow with her Oscar): "@CampbellX Should women really bother making films anymore? Unless of course they are testosterone soaked? #feminism #cannes". (I've noticed that #cannes10 Twitter conversations are a little different than #cannes conversations and am thinking of trying my first French language tweet---)


And, if you're on Facebook, there's also Beyond Borders: Diversity in Cannes. Beyond Borders seeks to strengthen the cross cultural network of the various ethnic groups represented at Cannes.


And---- And---- And----

I read the other day that 'our' Gaylene Preston will be in Cannes, with her stunning Home by Christmas, which I like best of all her films (see sidebar for details). I hope she gets a warm welcome, buyers from around the world, and has lots of fun. I see Home by Christmas as New Zealand's powerful, subtle, intimate, companion to The Hurt Locker, and with huge potential for cellphone viewing as well as on the big screen. I've seen it twice—once for structure and the second time for the emotion—and expect to watch it again, with pleasure.

Comments

  1. If there's anything I've learned from having filmmaker friends and seeing films made (off and on) over the years, it's that a filmmaker has to be her most ardent advocate of not only her film, but herself as a filmmaker!

    In a world that's so rapidly changing in terms of technology for transmitting, moving media (film, TV), maybe this is where women will lead the way, in a sense in a similar way to how so many women were screenwriters and directors in early Hollywood (where did they go??? and why???)

    Two steps forward and one step back, that's how it always seems with filmmaking when you're talking about women's stories on screen. What will it take to reach parity? It's not just about numbers or percentages, though, it's about a global raising of consciousness to the point where this issue, some day (some day, some day...) will no longer be so relevant that we have to fight tooth and nail for our work to be seen and heard. It will be a given that women's screen stories will be seen and heard and enjoyed and consumed and shared in the way that men's work is today.

    I dream of the day I (or my descendants) can even DARE to take for granted the fact that women-made films are successful (and common & KNOWN!) and women filmmakers' names are household words.

    ReplyDelete

Post a Comment

Popular posts from this blog

After the Waterfall—

above: Antony Starr as John

After The Waterfallis the only New Zealand feature in the New Zealand International Film Festival that a woman—Simone Horrocks—has written and directed. It premiered in Beijing earlier this month, as part of the 5th New Zealand Film Festival in the People’s Republic of China. Here's Simone speaking at the premiere.


Simone first attracted international attention when she was a semi-finalist for the prestigious Sundance Institute/NHK Filmmaker's Award in 2001. She has written and directed several short films, notably Spindrift, winner of the Best Panorama Short Film award at the Berlin Film Festival, and New Dawn, commissioned by the Edinburgh Film Festival to mark the launch of UK Film Four's Lab. I knew almost nothing about her. So I peppered her with emailed questions. And was truly delighted with her generous responses.

Dana Rotberg and White Lies|Tuakiri Huna

Cushla Parekowhai and I went to previews for Dana Rotberg's new feature White Lies/Tuakiri Huna – Cush in Auckland and me down here in Wellington. And the film excited us. White Lies/Tuakiri Huna, described as 'a story about the nature of identity: those who deny it and those who strive to protect it', comes from Medicine Woman, a novella by Witi Ihimaera, who also wrote Whale Rider. (Witi is Cushla's cousin. Witi's father, Tom Smiler, and Cush's grandmother, Pani Turangi, were raised in the same household in Manutuke.)

Dana wrote, in the book that accompanies the film, that after she read Medicine Woman –
...Paraiti, the medicine woman, was a stubborn presence who refused to leave. I felt that was a clear sign that the story...was speaking to me from places other than where the original work had come from. Places that belonged to my intimate family history and my most unresolved conflicts as a person in the world. It was a call from the core of my origins to l…

NZ Update #17.1 Safety Revisited

(This is easier to read over on Medium)

Back in October, just before the #directedbywomen screenings in Auckland, I tumbled down a steep flight of wooden steps in Auckland's Ayr Street Reserve. Cracked one ankle and broke the fibula in my other leg. Missed spring gardening. Missed all of Wanuri Kahiu's visit (but not some beautiful responses from the many people she inspired and revitalised).

Couldn't transcribe or edit my #directedbywomen Skype interview with Isabel Coixet. Couldn't edit and publish other almost-ready interviews I cherished. Couldn't organise more screenings that filmmakers had requested, with the films' directors beamed in to Te Auaha's small treasure of a cinema for Q & As, also via Skype.

After two months almost entirely at home, half-way down a pedestrian-access steep zigzag, I'm fully mobile again. With thanks to the Accident Compensation Corporation's (ACC, our universal no-fault accidental injury scheme) fine services; to…