Let’s Stop it With the Gender Parity Complaints at Cannes

Please, let’s stop the complaints about the lack of female filmmakers at the big festivals.

Europe has been far less willing to adapt to American cultural progressivsm, which has led to not just Venice but also the Cannes Film Festival getting heat from American and British-based journos for not being inclusive enough.

American values in art may be best described by Berlin-based producer Janine Jackowiski (Toni Erdmann) who states, “You can see how in America, if you don’t play by the rules, you’re out. Here in Europe, there’s still the idea of the ‘genius’ who is allowed to do anything and should be celebrated for it.”

Does cinematic quality even matter to Americans? Of course it does, but, at times, it has to take a backseat for the greater good of inclusivity. 

In fact, Cannes head Theirry Fremaux even admitted that in her precious final days on this earth, with feminist movements upping the pressures for Cannes to be more inclusive in its competition selections, the late great Agnes Varda told him, “I’m not a female director. I am a woman, and I’m a director.” Fremaux added, “she said to me, “please, never pick up a film because it’s directed by a woman. Pick up a film because it’s a good film.”

This year Fremaux has (so far) chosen just three female directors in his official competition: Claire Denis’ “The Stars at Noon,” Valerie Bruno Tedeschi’s “Les Amandiers,” and Kelly Reichardt’s “Showing Up.” Complaints ensued, multiple US media outlet were aghast at the lack of female representation, but none really bothered to ask whether there were any actual quality films submitted by female filmmakers.

Cannes’ Directors Fortnight sidebar announced their lineup this morning and a whopping 11 out of the 20 films were female-directed. How many of those were actually vying for a slot in Fremaux’s official competition? Probably Lea Mysius’ “The Five Devils,” Alice Winocour’s “Paris Memories,” and Mia Hanse-Love’s “One Fine Morning.” All three were probably declined by Fremaux. However, who are we to know if they were good enough to deserve a spot in official competition?

The fact of the matter is that there seem to be people out there who truly believe in quotas at film festivals and awards shows when it comes to gender equality in the arts. As I wrote a few years back, “there are many out there who want not just film awards, but film criticism, in general, to be swept up by “identity politics.” If that ever happens then the ethical nature of the field will be done for. The notion of judging a film as to whether it is good or bad would vaporize away.”

To too many American film critics, it’s more about who made the movie, who stars in it, and its message, rather than if is it a good or bad film. Of course, it is important to progress and have inclusion at the movies, but it should never be done in a forced-upon way. Progression happens in baby steps, not by painstakingly shoving agendas into the equation.

There is a lack of patience for progress, these people want the change to happen NOW, but in art, it can never be achieved at the flick of a switch. 80% of filmmakers in this industry are still male and that means there stands a good chance that the best films and directors every year will be directed by white dudes. I know, it’s an Inconvenient fact, but that’s where we are at right now and, despite the incredible changes that have been made these last few years, in terms of gender and racial inclusivity, we are a long way from having full-on gender parity at the movies.