5050x2020 is a hashtag used to campaign for gender parity in the film industry. The campaign was launched by the Swedish Film Institute at the Cannes Film Festival in 2016.
The campaign #5050x2020 was launched at the 2016 Cannes Film Festival, when the Swedish Film Institute hosted an event titled FiftyFifty by 2020. Featured speakers were Sweden's Minister for Culture and Democracy, Alice Bah Kuhnke, and France's Minister for Culture, Audrey Azoulay, alongside Roberto Olla, the Executive Director of Eurimages, and Anna Serner, CEO of the Swedish Film Institute. Additional participants included Oscar-nominated director Ruben Östlund, producer Emilie Lesclaux, producer Chiara Tilesi, and director Alexandra-Therese Keining. [1] [2] [3] [4]
When Anna Serner was appointed as CEO of the Swedish Film Institute in 2011, she made it a priority to ensure that half of all film funding would be allocated to female filmmakers. In 2011, women directed 26% of the films funded by the Swedish Film Institute. By 2014, the goal of 50% of the films funded by the Swedish Film Institute being directed by women was reached. [5] [6] [7] Female directors now win approximately as many of the awards in the major categories at the Swedish national film awards as male directors (Guldbaggen). [8] [9]
Shortly after the Swedish Film Institute's event at the Cannes Film Festival, several national film commissions and film institutes, such as the British Film Institute, Telefilm Canada, Screen Ireland and Screen Australia, committed to the gender parity goal of #5050x2020. [10] [11] [12] [13] [8] Later, the Austrian Film Institute also joined the national film institutes working for 50/50 gender parity. [14]
In September 2016, Creative Scotland made a commitment to gender equality across Scotland's five publicly funded arts sectors by making a formal pledge to achieve 50/50 gender balance across their boardrooms by 2020. [15]
In October 2017, Eurimages, the cultural support fund of the Council of Europe, adopted a new Gender Equality Strategy aiming at 50/50 support divided across female and male film directors by 2020. [16] [17]
In the same month, the British Film Institute set a 50/50 gender balance as part of their new diversity targets. [18] [19]
Several independent national initiatives and campaigns for gender parity in the film industry have also emerged under the banner #5050x2020. The British Film Institute's decision was largely influenced by campaigning by the organization Directors UK, starting in 2016, demanding that 50% of films backed by UK-based public funding bodies to be directed by women by 2020. [20]
Also in the UK, ERA 50:50 is an industry-led campaign working for 50/50 gender balance on British stages and screens by 2020, with of support from actors including Emma Thompson, Jude Law, James McAvoy and Olivia Colman. [21]
Similarly, the UK's National Theatre has committed to ensuring gender equality in terms of the directors and living writers the venue employs by 2021. [22]
In France, the Collectif 5050x2020 was launched in March 2018 by the group Le Deuxieme Regard. The group consists of several hundred professionals from across the French cinema world, with the aim of working towards concrete steps to bring about equality across the business. [23] [24] [25]
In December 2017, American talent agency ICM Partners pledged to commit to #5050x2020, and vowed that half the agency's partnership, half its department heads and half its board of directors would be women. "It's not enough to have 50 percent [female] employees," ICM Partners' managing director Chris Silbermann told The Hollywood Reporter . "Women have to be equally represented in true positions of leadership and influence throughout the company." [26] Shortly thereafter, American talent agency Creative Artists Agency (CAA) committed to #5050x2020, meaning that its management and leadership would have equal gender participation by 2020. In a memo, agency president Richard Lovett wrote “We are so grateful to our female colleagues, clients and others across the industry for bringing focus to this necessary and overdue goal. Lasting change requires new day-to-day habits. We must act in support of our shared truth: Our business and our lives will be better and stronger if we treat each other the way we wish to be treated.” [27]
In November 2018, the website The Wrap hosted an event called ”Power Women Summit – The Road to 50/50 by 2020” to address the gender imbalance in the US film industry. [28]
Several national women's groups have worked towards getting leading international film festivals to sign pledges to work towards gender parity. After campaigning from the Collectif 5050x2020, the Cannes Film Festival signed a pledge in May 2018, “promising to compile statistics on the gender of the filmmakers and key crew members of movies submitted to the festival. The festival also promised to improve transparency around their selection processes by publicly listing the members of their selection and programming committees, and to work towards parity on their executive boards”. [29]
In August 2018, the Venice Biennale, which runs the Venice Film Festival, signed a "Charter for Parity and Inclusion", after campaigning from the European Women's Audiovisual Network, Women in Film & TV International, WIFT Nordic, WIFT Sweden, and the Swiss Women's Audiovisual Network (SWAN), alongside Dissenso Comune and Women in Film, TV & Media Italia. [30] [31] [32] Both Venice and Cannes have previously received criticism for not including female filmmakers in their respective film programming. [33] [34] [35]
In June 2018, the Annecy International Animation Film Festival signed a pledge to promote gender equality and transparency at the festival as well as on the planning organization's staff, after campaigning by the organizations Women in Animation and Les Femmes s'Animent. [36]
Following campaigning by the Swiss Women's Audiovisual Network (SWAN), the Locarno Film Festival signed a pledge for parity and inclusion in programming in August 2018. [37] [38] [39] Also in August 2018, The Sarajevo Film Festival signed a pledge for gender parity. [40]
In September 2018, The International Documentary Film Festival Amsterdam (IDFA) and the San Sebastian International Festival signed a pledge for #5050×2020 gender parity and inclusion, and in October 2018, Mill Valley International Film Festival and The Rome International Film Festival did the same. [41] [42] [43] [44]
In February 2019, The Berlin International Film Festival pledged to promote gender equality. [45] [46] [47]
Following the 50/50 pledge, the official programme of Göteborg Film Festival 2020 will have a majority of female directors. [48]
The Cannes Festival, until 2003 called the International Film Festival and known in English as the Cannes Film Festival, is an annual film festival held in Cannes, France, which previews new films of all genres, including documentaries, from all around the world. Founded in 1946, the invitation-only festival is held annually at the Palais des Festivals et des Congrès. The festival was formally accredited by the FIAPF in 1951.
The Palme d'Or is the highest prize awarded at the Cannes Film Festival. It was introduced in 1955 by the festival's organizing committee. Previously, from 1939 to 1954, the festival's highest prize was the Grand Prix du Festival International du Film. In 1964, The Palme d'Or was replaced again by the Grand Prix, before being reintroduced in 1975.
Tonie Marshall was a French-American actress, screenwriter, and film director. In 2000, she became the first female director to win a César award for her film Venus Beauty Institute.
Eurimages is a cultural support fund of the Council of Europe, established in 1989. Eurimages promotes independent filmmaking by providing financial support to feature-length fiction, animation, and documentary films. In doing so, it encourages co-operation between professionals across Europe. Eurimages is headquartered in Strasbourg, France in the Agora building of the Council of Europe. The current Chairperson is Catherine Trautmann.
The cinema of Lebanon, according to film critic and historian Roy Armes, is the only other cinema in the Arabic-speaking region, beside Egypt's, that could amount to a national cinema. Cinema in Lebanon has been in existence since the 1920s, and the country has produced more than 500 films.
The celluloid ceiling is a metaphor for the underrepresentation of women in hiring and employment in Hollywood. The term is a play on the metaphor of the "glass ceiling", which describes an invisible barrier that keeps a given demographic from rising beyond a certain level in a hierarchy. Celluloid refers to the material used to make the film stock that was once used to make motion pictures. The term is usually applied to behind the screen workers only.
European Film Promotion (EFP) is an international promotion organisation and a unique network of 38 national film promotion institutes who represent films and talent from their respective territories. Under the EFP flag, the members team up on initiatives to promote the diversity and the spirit of European cinema and talent at key international film festivals and markets.
Céline Sciamma is a French screenwriter and film director. She is especially known for her films Girlhood (2014), My Life as a Courgette (2016), and Portrait of a Lady on Fire (2019), winning many nominations and awards for her films.
Rhino is a Ukrainian feature film by director Oleg Sentsov, created as a co-production of Ukraine, Poland and Germany.
Women in Animation (WIA) is a non-profit organization with the purpose of furthering, promoting, and supporting female animators in the art, science and business of animation. WIA helps young female artists to find a place in the business world. WIA has chapters in Los Angeles, San Francisco, New York City, Dublin, Pune, and Toronto. WIA states that the lack of an equal number of women and men in the animation profession is because "there has been very little work to intentionally change the status quo." In order to help women assess the animation profession, WIA has created a mentorship program, a voice over group, a scholarship, talks, and events. The organization is currently led by its president, Margaret Dean.
Women are involved in the film industry in all roles, including as film directors, actresses, cinematographers, film producers, film critics, and other film industry professions, though women have been underrepresented in creative positions.
The Geena Davis Institute on Gender in Media is a US non-profit research organization that researches gender representation in media and advocates for equal representation of women. The institute is currently headquartered at Mount Saint Mary's University, in Los Angeles, California.
The 71st annual Cannes Film Festival was held from 8 to 19 May 2018. Australian actress Cate Blanchett acted as President of the Jury. The Japanese film Shoplifters, directed by Hirokazu Kore-eda, won the Palme d'Or.
Vibha Bakshi is an Indian filmmaker, journalist, and founder of Responsible Films. She is known for her films that highlight issues of gender inequality. Vibha's most notable films as both director and producer include Daughters of Mother India and Son Rise. Both films are winners of the National Film Awards from the President of India. She is the recipient of four National Film Awards from the President of India.
The ReFrame Stamp for Gender-Balanced Production certification is awarded by ReFrame to corporations and media that show progress toward gender equality and greater representation of women in key roles.
ReFrame is a US non-profit organization founded by Women in Film LA and the Sundance Institute together with over 50 leaders and influencers in Hollywood, with the goal of providing research, support, and a practical framework to its partner companies to give them a way to "mitigate bias during the creative decision-making and hiring process, celebrate successes, and measure progress toward a more gender-representative industry on all levels". Alison Emilio serves as the director.
Anna Serner, born 11 October 1964 in Stockholm, is a Swedish legal professional, public speaker and former CEO of the Swedish Film Institute.
The Original Six are a group of women directors who created the Women's Steering Committee (WSC) of the Directors Guild of America (DGA). Dolores Ferraro, Joelle Dobrow, Lynne Littman, Nell Cox, Susan Bay Nimoy and Victoria Hochberg formed the Women's Steering Committee of the Directors Guild of America in 1979. They carried out landmark research showing that women held only 0.5% of directing jobs in film and television, which they reported to the Guild, the studios and the press.
Audrey Diwan is a French film director of Lebanese origin. Prior to becoming a film director she worked as a journalist and a screenwriter. She is a member of Collectif 50/50, a French NGO promoting equality between men and women in the film industry. In 2021 her film Happening won Golden Lion at 78th Venice International Film Festival.
Share Her Journey is a Canadian film program, created by the Toronto International Film Festival to foster the development and career advancement of women in the film industry.