There’s been talks, in some circles, of Cannes boss Thierry Fremaux going out of his way to look for female directors to be included in this year’s competition lineup.
The current rumor, via AW, is of at least six female directors potentially in competition this year. So, let the guessing games begin.
Justine Triet, Jessica Hausner, Catherine Breillat, Alice Rohrwacher, Maïwenn, Catherine Corsini, Valerie Donzelli and Kitty Green all have contending new films this year. I bet our six are in this group. Or, maybe, it’s seven.
The current record for number of female directors vying for the Palme d’Or sits at 5, and that was achieved just last year.
Cannes boss Fremaux 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.”
Last year, Complaints ensued, with multiple US media outlets aghast at the lack of female representation, but none really bothered to ask whether there were any actual quality films submitted by female filmmakers. Maybe this year there are.
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.
There is a lack of patience for progress; these people want the change to happen NOW, but in arts, 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.
Six is definitely a good start, though.
His reasoning is simple: Cregger sees himself first and foremost as a writer, and he has little interest in shaping stories around the predetermined “data points” that come with established IP.