Skip to main content

Women directors in Foreign Language Academy Award submissions

Last year, women directed, or co-directed, nine of the sixty-five films submitted for the Foreign Language Academy Award (14%). They wrote and directed only four (6%). And I thought and wrote about that. And Susanne Bier won the award with her In A Better World.

This year women directed ten of the sixty-three films submitted (16%) and wrote and directed three (4.75%): Leticia Tonos wrote and directed Love Child, Athina Rachel Tsangari wrote and directed Attenberg and Juanita Wilson wrote and directed As If I Am Not There. Others directed another writer's screenplay, or co-wrote their screenplays—usually with men—although Pernilla August co-wrote Beyond with Lolita Ray. Here are the trailers, in alphabetical order by the directors' first names. Now I've watched them, I want to see ALL these films, and am glad some are available on MUBI. Which one would you most like to see? Is it time for a major international women filmmakers award, to celebrate films like these and encourage investors to fund more of them?

Agnieszka Holland's In Darkness from Poland




Anne Hui's A Simple Life, from Hong Kong



Anne Sewitsky's Happy Happy from Norway



Athina Rachel Tsangari's Attenberg from Greece



Juanita Wilson's As If I Am Not There from Ireland



Leticia Tonos' Love Child from the Dominican Republic



Maria Peters' Sonny Boy from the Netherlands



Nadine Labaki's Where Do We Go Now? from Lebanon



Pernilla August's Beyond from Sweden (& starring Noomi Rapace!)



Valerie Donzelli's Declaration of War from France



And then I was noodling over at sister site HerFilm, where Kyna has just published her first newsletter, and Lotus Wollschlager has joined Kyna as a reviewer (you can sign up for the newsletter here.) And I found a link to Swedish statistics, where there's a beautiful graph showing the gender difference between Swedish films funded by the Swedish Film Institute—with its gender equity mandate—and the films that the institute hasn't funded, and a link to French stats, which I've wanted to know about forever. People have often told me that women filmmakers are more strongly represented in France than anywhere else in the world, and these stats are very interesting in relation to gender, so I'm working on them right now and will post my wee analysis soon.

Comments

  1. I'm so happy I took the time to watch each of these trailers...to be truthful, I want to see them all...Nadine Labaki's Where Do We Go Now? from Lebanon was filled with visual humour that transcended my lack of access to the language and Valerie Donzelli's Declaration of War from Francetheir subject matter has me intrigued and wanting to see the outcome...but each film is beautifully realized...varied and skilfully executed...I wish each filmmaker great success!

    ReplyDelete
  2. Tx, Jan. Yes, I felt like that, too. Wanting to see them ALL. And, somehow, seeing a group of women's trailers (or films) together always feels so lovely, & so different than seeing a mixed gender group, or the relentless flow of films men make, & makes me realise how hungry I am for movies that women write & direct... Would love to know what you think of the films once you see them!

    ReplyDelete

Post a Comment

Popular posts from this blog

Safety in Paradise?

Children play in safety on the beach beyond my window. Some aren't safe at home, but they do not die in rocket attacks. Along our promenade, this year’s most sustained sirens wailed from motorbike cavalcades, as they escorted royalty to and from the airport. At school, our children may arrive hungry. But they're safe from abduction. The closest I’ve ever been to a war is my parents' silence about 'their' war, refuge women's stories about men returned from wars and Bruce Cunningham’s stories, after I met him selling Anzac poppies. (He was a Lancaster pilot in World War II and then a prisoner-of-war and I’m making a short doco about him.)

Yes, in many ways Wellington, New Zealand is paradise and I’m blessed to live here and to benefit from love and generosity from women and men, my beautiful sons now among those men. But in an interview with Matthew Hammett Knott earlier this year, I found myself saying–
We have to deal with serial violation, direct and subtle, on…

Women Directors of Feature Films in New Zealand

Last week, two lovely people questioned me about my work. I don't look back at it often, but returned to my PhD thesis and various statistics-oriented posts I'd almost forgotten, like this one and this one. And then remembered a survey that I wrote for Geoff Lealand, the New Zealand editor of the second edition of the Directory of World Cinema: Australia and New Zealand. When I looked at it again, I realised that even in the year since I wrote it lots has changed. (I think you can also tell that I don't enjoy writing 'academic', am much happier in real-time immediate responses). 

So here it is while some of it's still relevant and to accompany Matthew Hammett Knott's interview with me, for his Heroines of Cinema series (blush). 

If I were writing a survey today, I'd include all the short films New Zealand actresses write and direct and theirpotential as multihyphenates. I'd include Marama Killen's self-funded feature, Kaikahu Road. I'd add mor…

NZ Update #3: WIFT New Zealand

This is Part 3 of an NZ Update 4-part series. Part 1 was Gender Breakthrough in New Zealand Film Commission Funding. Part 2 was a letter to Deputy Prime Minister and Minister for Women, Paula Bennett, about the New Zealand Screen Production Grant. Part 4 is a not-quite-A-Z of New Zealand women directors and some writers.

So how has Women in Film & Television New Zealand (WIFTNZ) responded to the lack of gender parity between women and men who write and direct, in particular the lack of gender parity in allocation of taxpayer funding? For example, does it endorse Telefilm Canada's statement, referred to back in Part 1 and to some extent implicit in the New Zealand Film Commission (NZFC)'s latest Annual Report?–
Based on industry recommendations that these two roles require immediate critical attention, gender parity amongst directors and screenwriters was identified as a priority (emphasis added).The simple answer: No-one Knows For Sure. And because of this, I believe it'…