The Guardian has been taking the lead in coverage of the controversy surrounding the complete absence of work by female filmmakers in this year’s Cannes Competition section. Last week, it published the English translation of an open letter by the French feminist group La Barbe, and over the weekend interviewed Trudie Styler (who runs Maven, a production company specifically supporting women in film) and Lucy Walker, the Academy Award-nominated documentarian who was one of Filmmaker‘s 25 New Faces in 2002, about gender imbalance within cinema. Here’s an extract from Walker and Styler’s conversation about the difficulties facing women in the […]
by Nick Dawson on May 21, 2012The French feminist collective known as La Barbe (French for “The Beard”) printed an open letter in France’s daily newspaper Le Monde earlier this week addressing the complete absence of films directed by women in the Competition section at this year’s Cannes Film Festival. La Barbe is made up of actress Fanny Cottençon, writer/director Virginie Despentes and director Coline Serreau, who have also set up an online petition which has been signed by numerous luminaries, including feminist icon Gloria Steinem and filmmakers such as Ry Russo-Young, Gillian Armstrong and Ava DuVernay. The British newspaper The Guardian ran a translation of the […]
by Nick Dawson on May 18, 2012I started working with DP Martina Radwan about a year ago on the feature documentary, Mentor (addressing bullying and teen suicide in Mentor, Ohio) I further had the pleasure of working with her on a recent music video for the band Shearwater. It is a gift, as a director, to find a DP who you can quickly fall into a shorthand with, creating your own visual language, and trusting in the collaborative process. Radwan and I found this with each other. Her narrative work includes Flannel Pajamas, by Jeff Lipsky; Singapore Dreaming, one of the first Singaporean feature productions and […]
by Alix Lambert on Feb 6, 2012Each year, before the movies and parties and deals go down at the Cannes Film Festival, thousands of international participants go through the same steps. They complete their registration, receive the color-coded badge that designates their place in a screening hierarchy as rigid as that of a fascistl state, and pick up a mid-sized, branded satchel that holds, among reams of leaflets and ads, the official festival program. This is a slim, beautifully produced book—the 2010 edition is midnight blue—where each film in the Official Competition is given a full double-page spread. There is a portrait of the auteur behind […]
by Livia Bloom Ingram on Jun 2, 2010