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The data, always ungrateful, leave few options to enthusiasm. In the next call for aid from the Ministry of Culture, only two of the 20 films that have received the so-called general grants are directed by a woman . Literally.
The two are signed by Isabel Coixet. It is understood that under this heading are all the tapes that exceed one million euros in budget. Otherwise, women do not direct expensive movies . It is a sad fact, but there are more and exactly the same of desolate.
This year, in none of the seven most important candidacies of the gala, those that are read at the end when the nth musical number invites suicide, there is not a single woman. And another one, for the first time we know the census of academics and, surprise, the global women's barely reaches 28%. Being bad, or just demagogic , it is demonstrated once again: men vote for men.
"In this edition," says Cristina Andreu as president of the Association of Women Filmmakers (CIMA), "we see a clear upset over last year. They are long processes. It is soon to draw conclusions, but it is time to worry ». And he continues: «The most disheartening thing continues to be that in certain guilds such as photography direction or musical composition - where only Eva Gancedo has won throughout history - there is absolutely no one. It still does not exist ».
Indeed, last year is a bad reference, or good, depending on how you look at it. For the first time, in the category of best film was a woman as director, Arantxa Echevarría for Carmen and Lola , and another as producer, Mariela Besuievsky, for The Kingdom. But hope was a little lower. There it was possible to find three women in the category of novel management: Andrea Jaurrieta, Celia Rico and, again, Echevarría . And Isabel Peña as a mandatory screenwriter for each Rodrigo Sorogoyen movie. If we take into account that the ceremony still lived from the embers of the great world movements such as #MeToo and that red fans were distributed at the gala itself to claim 'More women team leaders', someone could think then that there was a moment of no return.
Well, no. Return to the exit box. Only Belén Funes, director of the daughter of a thief , keeps the flame burning. "I have the impression," says Funes, "that as soon as the pressure is lowered, as soon as we stop being in focus, things return to their place. It is exhausting". And Andreu continues to hold on to the data: «Telecinco Cinema, for example, has only worked with one woman, Gracia Querejeta. Women's films are the ones with the least budgets . And one more figure: "There is an invisible barrier of 25% never exceeded by female directors in the country."
In this sense, Funes raises his reflection two octaves. «I have the impression that women have reached the address when there is no money . It is as if we are living an agonizing situation. We make cinema as a necessity, because directly you do not consider doing something else in life. And besides, you always have to hit the first one. If you fail, there is no second option because the speech that you are in a field that is not yours has gotten. Any project, if signed by a woman, is examined to an almost sickly detail , ”he says. And breathe. From her experience as a professor at the Catalan Film School (ESCAC) she is convinced that without referents, without models, there is nothing to do. «That the students do not see you as an intruder, do not ask. 'What are you doing in a place like this?' That they feel capable ... that is the objective, ”he adds.
Andreu, more brief in the chapter of measures to take, does not hesitate to present his plan of action that is also a shock. «As soon as they named the new minister [José Manuel Rodríguez Uribes], we asked for a meeting. There are many measures to be taken: end mixed teams, demand 40% of team leaders or increase the intensity limit on women's productions ».
Sorry? The president of CIMA refers, in order, to end the fraud that involves putting women in an almost decorative way to receive the points that facilitate the grant; to give value to the presence of women in managerial positions (always facing the coveted points ), and, and this is the most novel, to alter the percentage limit of aid to a film if there is a director in command.
That is, if Europe only allows subsidies for a maximum of 50% of the cost of a film, alter that barrier up to 80% even. "Europe," Andreu reasons, "leaves states to define the characteristics of a difficult project to vary that percentage. It may be because they are experimental films, or valuable because of their educational nature or, and here our proposal, because women are responsible. It is clear, there are measures.
Be that as it may, and without moving from today's gala, the voter census, it has already been said, gives few joys. Not even the guild of interpretation (212 actors versus 190 actresses) boasts parity. Costume design and makeup and hairdressing (go for God!) Are the only exceptions . Special effects is a matter of very male men (37 versus one and only). As the scriptwriters, the producers and, most bleeding, the address (247 next door, not against, of only 45 directors).
«The problem is that when you raise help to avoid what is clearly an injustice, then there is someone who thinks you are there just for being a woman. And I say: 'Yes, so what?' Have we not lived just the opposite situation for centuries? The doubt is symptomatic that we are not well ». Bethlehem, her words are, no doubt.
And so things, what is clear is that in this gala in Malaga, whoever wins wins, a man will almost certainly win. Of the 91 nominations only in 19.5 cases does a woman appear (the decimal is for sharing specialty with a man). Wrong. Men vote, nominate men, lose women, we lose all. It is like that.
According to the criteria of The Trust Project
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