As a seasoned film enthusiast with a keen eye for cinematography and a heart for social justice, I found the recent panel discussion at the EnergaCamerimage film festival particularly enlightening. The issue of diversity and inclusion within the film industry has long been a subject close to my heart, having witnessed firsthand the stark lack of representation in various aspects of filmmaking.
Leading figures within the filmmaking sphere tackled a highly significant matter that’s well-recognized across our profession, on Tuesday, by recounting personal experiences from their persistent battle for greater diversity and inclusivity.
At a discussion during the 32nd EnergaCamerimage Film Festival in Torun, Poland, the collective expressed that the wider film industry and cinematography specifically are significantly lagging behind when it comes to embracing diverse filmmaking abilities.
Anna Higgs, producer and columnist, asserted firmly, “The belief that inclusivity diminishes excellence is not open to discussion,” as she introduced the impromptu discussion titled “Expanding Perspectives: Inclusion and Outstanding Achievement in Our Field.” This gathering was hastily organized this week, following a recent uproar where some prominent filmmakers decided to skip Camerimage due to a controversy.
Critic groups have voiced disapproval over comments by the festival president, Marek Zydowicz, which appeared to suggest that an emphasis on inclusivity might result in subpar movie productions. This statement sparked director Steve McQueen’s decision to forego attending Camerimage, and filmmaker Coralie Fargeat withdrew her film “The Substance” from competition as a consequence.
On Tuesday, a cinema hall was filled to capacity as people gathered to listen to valuable perspectives from a distinguished panel on diversity and inclusion during the festival. This panel featured renowned cinematographers Mandy Walker and Rodrigo Prieto, director Maura Delpero, costume designer Sandy Powell, and actor/producer Cate Blanchett.
In many parts of the world, the profession of cinematography is dominated by men (approximately 93%), while women make up only about 7%. This imbalance has been a persistent issue since the inception of cinematography, not just regarding gender but also representation for parents, people with disabilities, ethnic minorities, and those affected by socioeconomic disparities.
As a passionate movie reviewer, I wholeheartedly agree with Higgs’ sentiment: the tales we craft as storytellers significantly influence the collective identity of our society. In these challenging times, it’s crucial for us to unite, exchange stories, and empathize with diverse viewpoints that resonate in our shared human experience.
In the opinion of Delpero, film festivals like Camerimage, such as themselves, play a pivotal part in the progression. He stated that it is almost instinctive for these events to broaden their offerings. Festivals generally understand they must be inclusive to prevent giving an advantage to established figures, Delpero continued, but when it comes to gender, race, or socioeconomic status, matters become more complex.
Moreover, it’s particularly significant when those who are privileged understand that they need to relinquish some of their advantages and coexist harmoniously, according to Higgs.
Prieto expressed gratitude for being part of films directed by women that focus on female subjects, saying they’ve been incredibly enlightening and beautiful for him.
Successful filmmakers should keep expanding the dialogue by seizing opportunities like casting, Prieto noted. Essentially, he advises keeping an open mind and observing carefully.
As a cinema enthusiast, I’ve been noticing an exciting shift in the pipeline of upcoming films, with new stories being brought to life and more diverse filmmakers given the opportunity to tell them. While there’s still a long way to go, it feels like we’re on the cusp of a significant transformation.
As a movie critic, I’ve observed an encouraging trend: Women filmmakers are now venturing into Marvel productions, leveraging colossal marketing resources that can significantly boost their careers. However, it’s still a rarity to see cinematographers like Autumn Durald Arkapaw (who shot “Elvis” and the upcoming Disney musical “Snow White”) in these high-profile roles.
Walker admitted that she was informed as a child that women couldn’t become cinematographers, but she chose to disregard this notion. She further mentioned that she faced a significant amount of bullying and encountered both conscious and unconscious biases throughout her journey.
She, much like numerous other women, often perceived the need to excel significantly, believing she needed to perform at 110% and demonstrate exceptional ability in her role. Fearing criticism, she worried that if she didn’t, people might assume “women aren’t capable of doing that.
Indeed, I frequently find myself being the sole female department head in the film industry. “It’s intriguing to note that I’m still occasionally subjected to judgment, as this role is still somewhat uncommon and novel.
According to Walker, the matter inspired her to actively participate in providing opportunities for underrepresented individuals. She is always on the lookout for such prospects.
Blanchett, serving as head of this year’s Camerimage main competition jury, pointed out that her return to the movie industry after a ten-year absence dedicated to theater production revealed a stark contrast: the “smooth, natural progression” commonly observed in male careers seemed to be absent when it came to women.
It was back then, when only a few were left from those I’d seen on sets, that the men continued, with their careers climbing steadily. At that moment, I found myself thinking, “This is quite surprising!
Cate Blanchett, a co-founder of Dirty Films alongside her partners Andrew Upton and Coco Francini, has recently unveiled Proof of Concept – a program aimed at providing budding filmmakers with financial backing, guidance, and screening chances. This initiative is intended to help nurture the talent of newcomers in the industry. In 2023, Dirty Films saw Blanchett both producing and acting in Warwick Thornton’s “The New Boy,” a project that earned the Camerimage Golden Frog award the same year.
Blanchett stated, ‘Everyone’s involved in this discussion. We can’t turn our backs on it. Instead, we need to contribute to the transformation.’
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2024-11-20 02:17