Wellywood Woman

I feel very proud that a New Zealand film, Kimbap , written and produced by Sapna Samant and directed by Alex Kyo Won Lee, won Best in Show and the Audience Choice Award for the best film by a male director at the Bluestocking Film Series this year and then travelled with the Bluestocking selection to the LadyBug Festival  in Sweden. This all feels special, because Bluestocking is the influential showcase for provocative, well-produced short fictional films featuring complex female protagonists – and the only film event in the world to require female protagonists. Submissions must also pass the Bechdel Test and Bluestocking is the first United States film event to receive Sweden’s A-Rating, which informs consumers that films pass the test. Best in Show judge, Thuc Doan Nguyen from The Bitch Pack , which advocates better representation of women ‘on the page’, said this about Kimbap – I chose the film because of the excellent acting, the relationship between mother and daughte

So Mockingjay had a big opening.  And here's @licoricehazel's immediate response– That' s all terrific. And as a New Zealander, I'm especially proud and delighted because 'our' Lorde curated the music. And wrote and performed some of it too. But I'm also remembering that men wrote almost all the Hunger Games scripts and directed all of the films. And I'm reflecting on that depressing data on women who make films and about the (mis)representation of women and girls in films. It continues to pour out. A storm. A flood. A tsunami. It's almost overwhelming. In September, the  European Audiovisual Observatory   released  Female Directors in European Films: State of Play and Evolution Between 2003 and 2012   –  the first substantial study to measure the director 'gender divide' at pan-European level. Since then I've been thinking about the various recent reports and their interrelationships, in an attempt to understand wh

Jacqueline Kalimunda Jacqueline Kalimunda's Single Rwandan Seeks Serious Relationship asks ‘How do people love after genocide?’ It uses new technologies to explore the rebirth of love in a society that’s coming out of conflict and will introduce us to Rwanda’s new generation, using the internet to find love and enhance resilience. In three languages –  Kinyarwanda (Rwanda's official language) English and French – it's the first participatory film on love in Rwanda. I found  Single Rwandan' s crowdfunding campaign  on Twitter. And then watched Jacqueline's pitch clip and some clips she’s shared from the project (below). Jacqueline and the clips enchanted me, made me think and feel deeply. As an exploration of the 'rebirth of love in a society that’s coming out of conflict’, Single Rwandan is extraordinary, I believe, something profoundly important for all of us. In the English-speaking world, we’re most familiar with Rwanda through films made by othe

Emma Rozanski, writer/director Papagajka I’m convinced that it’s essential to follow crowdfunding campaigns to learn what’s new and exciting about women in film, that women-directed and crowdfunded films are the most likely to change the gender imbalances, not films that women direct for Hollywood, with its profound ambivalence (at best!) towards women who make films and towards women and girls in films. Crowdfunded and women-directed films are where we’re most likely to experience complex women and girls and exciting stories about them. That's also where we'll be challenged and engaged by experimental work that makes us think and feel, I reckon. For me, it's easiest to access crowdfunding campaigns on Twitter. That’s where I first heard of Afia Nathaniel, whose Dukhtar ( Daughter ) premiered at Toronto this year, because she created such a beautiful campaign. I first heard and loved Ana Lily Amapour’s distinctive voice when she tweeted about A Girl Walks Home Alon