A recent dip in female-led theatrical releases in the UK - back to 2018 levels of 26% reminds us that our work is far from over; that we cannot be complacent.
Below you can read about the research we conduct into gender representation in film and the wider industry, tracking the release landscape to present an accurate picture of investment in films by filmmakers of marginalised genders.
Here you can also find out about news and opportunities at Reclaim The Frame, along with curated film recommendations, filmmaker interviews, and creative responses.
Our Director Melanie Iredale spent a sunny Cannes in a dark cinema last week (with thanks to support from Film Hub London), and we’re excited to share with you her #ReclaimTheFrame recommendations - reporting back on 7 of the titles (co)written and (co)directed by women, and focusing on films that premiered in the second week of the festival.
Disappointingly, though not surprisingly, only 4 of 22 titles in competition, 6 of 18 nominated for the Un Certain Regard, and 19% of the overall selection at Cannes were directed by women. According to data from Le Collectif 5050 – a fellow cine-campaigning organisation, in France with whom we met while at the festival – only 5.2% of films in Competition at Cannes since its creation have been directed by women.
That said, all the more reason to highlight those titles coming to the UK – or which we hope find a home in cinemas here – and including those that got less red carpet and industry attention.
ALL WE IMAGINE AS LIGHT written & directed by Payal Kapadia. India, France, Luxembourg, Netherlands, Italy 2024.
First up, starting with the Grand Prix-winning ALL WE IMAGINE AS LIGHT by Payal Kapadia. The first film from India to compete at Cannes in 30 years, and the first Indian woman director to compete full stop. Kapadia’s first feature, the stunning documentary A NIGHT OF KNOWING NOTHING, which won the Camera d’Or in 2021, sadly only got a very limited release in the UK. Kapadia’s latest already looks set to reach the audiences here it deserves. This is the story of 3 working class nurses of different generations, based in Mumbai, all of whom, between life and work, have dedicated their lives to the service of others, and each decide to embark on their own journey. ALL WE IMAGINE AS LIGHT is a luminous film, a story of friendship and emancipation, told with gentleness and with the same humanity offered by its lead characters.
ALL WE IMAGINE AS LIGHT has been picked up by BFI for theatrical distribution in the UK.
THE SUBSTANCE written & directed by Coralie Fargeat. USA, UK, France 2024.
Also competing for the Palm d’Or, and taking home the prize for Best Screenplay is THE SUBSTANCE – a feminist body horror, and subversive take on the screen industry’s damnation of ageing women. Demi Moore stars as a Hollywood actress turned Jane Fonda-styled TV fitness presenter who is unceremoniously dumped from her slot when she turns 50. Enter ‘the substance’ which offers a chance to generate a younger, ‘more beautiful, more perfect’ double. Not unlike DEATH BECOMES HER – just as comic and as camp but with more gore - THE SUBSTANCE explores not only impossible beauty standards but also the way in which patriarchy pits women against each other in the fight for survival.
Reclaim The Frame supported Fargeat’s previous feature, REVENGE, and we look forward to seeing THE SUBSTANCE reach UK cinemas via MUBI.
SANTOSH written & directed by Sandhya Suri. UK 2024
From British Indian (Darlington raised) first-time feature director Sandhya Suri and featuring a largely Indian cast and crew comes SANTOSH – a compelling debut exploring casteism and misogyny in the Indian police force. The story centres on Santosh, newly widowed, who through a government scheme inherits her husband’s role as Constable, which is her only means of being entitled to financial support. When a low caste Dalit girl is found dead, Santosh is pulled into the investigation, and into the brutality of the law enforcement system of which she is now a part. A powerful thriller with its lead character complexly written and performed.
SANTOSH is represented by Mk2 Sales with no news of UK distribution as yet.
SEPTEMBER SAYS written & directed by Ariane Labed. UK, Ireland, France, Germany, Greece 2024.
Another UK co-production, competing for the Un Certain Regard. Based on a novel called ‘Sisters’ by Daisy Johnson, Ariane Labed’s adaptation makes for a tense watch – a study of adolescence and bullying, through the characters of two interdependent sisters born less than a year apart: September (the title referring to her frequent demands of “September says… “) and July (always “silly July”). When September is suspended from school, July begins to explore her own individuality. Formerly an actor, known for ATTENBERG, SEPTEMBER SAYS marks a confident debut for Labad, with impressively in-sync performances from Mia Tharia and Pascale Kann as the sisters and by Rakhee Thakrar as their mother trying to assert her own independence.
SEPTEMBER SAYS is represented by Match Factory with no news of UK distribution as yet.
GOOD ONE written & directed by India Donaldson. USA 2024.
In Director’s Fortnight, and previously premiered at Sundance, we adored GOOD ONE – a beautifully written story of a young woman’s backpacking trip with her father and his best friend. 17 year old Sam, wise beyond her years, helps to mediate the clashes of egos between her elders. GOOD ONE assuredly takes its time in creating the understated vulnerability in its central character, and in building bonds only for trust to be broken when a line is crossed. A confident commentary on generational differences and gendered experiences, complete with luscious cinematography of the Catskill Mountains.
GOOD ONE is represented by Visit Films with no news of UK distribution as yet.
EAT THE NIGHT written & directed by Caroline Poggi and Jonathan Vinel. France 2024.
Also in Director’s Fortnight, and up for the Queer Palm, is EAT THE NIGHT. An ambitious project, pitched as a drug-fuelled thriller, but one that works best in simpler terms: as a deeply tender story about a brother-sister relationship, and at best in what is left unsaid between them. Pablo and Apolline have grown up together playing Darknoon, an online fantasy video game - a shared past time which is threatened both by the impending death of the game and by Pablo’s neglect of his sister in favour of his new boyfriend, Night. Directors Caroline Poggi and Jonathan Vinel deftly transport us between these two worlds: between its fascinating virtual universe and the very nihilistic everyday life in which the protagonists’ struggle.
EAT THE NIGHT is represented by Mk2 Sales with no news of UK distribution as yet.
THE FALLING SKY directed by Gabriela Carneiro da Cunha & Eryk Rocha. Brazil, Italy, France 2024.
“Here I am, letting myself be filmed… Are you really going to be our allies?"
An immersive documentary, opening with a seven minute un-cut scene in which we watch a group of Indigenous people striding towards the camera, from one part of the Amazon to another, to defend their land from the miners who threaten it. Titled after a book of the same name, by shaman Davi Kopenawa, inspired by the reahu ritual, a collective ceremony to hold up the sky, THE FALLING SKY amplifies the voices of the Yanonami people. Along with scenes in which we’re entranced in their everyday lives, traditions and struggles are sections in which they’re interviewed direct to camera - sections for which as a white audience member - “commodity people” - felt to be powerfully confronted with and reminded of our complicity in the killing and poisoning of their land.
Thanks go to Film Hub London for supporting our costs to go to Cannes.
For Global Accessibility Awareness Day, Florence Grieve reflects on her own experiences of inaccessible cinema, provides insight into recent developments towards access and disability inclusion in the film industry, and calls for more to be done.
The bright sunshine is brought to life through the audio description, and the sound of birdsong is expressed by the descriptive subtitles, which means Global Accessibility Awareness Day (GAAD) must be upon us. A day once a year for disabled people to shout about what we need and to call for access to be provided all year round.
When it comes to film, whether it’s watching the latest release in the cinema or hearing from filmmakers at festivals, I would like to say that this day is no longer needed. But as a deaf film lover, I know this isn’t the reality. From the freebies I got as a child when the subtitles failed at the cinema to scrolling through social media posts of film events that weren’t accessible for me to attend, gaps in accessibility continue to stand between me and the big screen.
In order for disabled people to be fully included, we need to achieve the perfect trinity -equality on screen, behind the scenes, and in the audience. That means authentic portrayals of disabled people by disabled actors and filmmakers that are screened in a way accessible to all audiences. In the past year, there have been steps forward in achieving this, no less when it comes to the recognition of disabled-fronted films.
I have told everyone I know to watch Ella Glendining’s (Reclaim The Frame supported) BAFTA and Sundance-nominated documentary Is There Anybody Out There? With humour and candour, it shows how exhausting it is to navigate an ableist world. Whilst my experiences differ from Ella’s, it is the feeling captured on screen that I, and many disabled people, resonate with. It is a difficult thing to put into words, let alone repeat to everyone who has never experienced it themselves, and so being able to see and share this is powerful. The documentary has functioned as a springboard for launching further conversation about disability inclusion in the industry. Another documentary using humour and candour to shine a light on discrimination is Your Fat Friend, which opened my eyes to access barriers faced by fat people, such as seat sizing, something the film aimed to raise awareness of with its release. Taking the conversation off-screen is an important step in translating the power of film into real change. Something Reclaim The Frame has helped facilitate through hosting conversations with the filmmakers behind both documentaries and providing live subtitling to ensure these events are accessible for Deaf audiences. It is this holistic approach, access to the film, the venue and the discussion, which ensures true accessibility, allowing us to be part of the conversation and the change.
One focus of GAAD is digital accessibility, and with the popularity of streaming services, it is notable that this year saw the Media Bill complete its stages in the House of Commons. If passed, the Bill, which is currently making its way through the House of Lords, will require streaming platforms to meet quotas on the access services they provide, including subtitles, audio description and sign language interpretation. Whilst this would not have a direct impact on cinemas, it makes a statement about the importance of accessibility. It may lead to a conversation of whether similar quotas could and should be introduced for other platforms for consuming audiovisual content, including cinemas and film festivals. But that isn’t to say that there aren’t those in the industry already going above and beyond the regulations a quota could impose. Two festivals committed to providing descriptive subtitles on 100% of their screenings are the Scottish Queer International Film Festival and Take One Action! But it is not clear whether this is a sign of a wider shift in the industry. As both organisations were set up to amplify marginalised voices, I have heard it said that they attract audiences who are more likely to be accepting of access provisions, even if they don’t require them personally. Is this true? Is it easier for organisations already subscribed to values of inclusivity, whether disability inclusion or other marginalised identities, to embrace accessibility, and if so, how can we make this attitude mainstream?
Perhaps we can believe in the power of Hollywood to shift attitudes; after all, CODA’s success at the 2022 edition of the Academy Awards was just one of a number of recent big hitters featuring disabled-centred stories. The A Quiet Place franchise is another, set in a world where the Deaf protagonist, played by Deaf actress Millicent Simmons, saves the day. Despite the state of the world resting on Deaf shoulders, a report by the National Deaf Children's Society found that less than half of UK cinemas showed A Quiet Place 2 with descriptive subtitles in its opening week. With the release of A Quiet Place: Day One in UK cinemas in June this year, it will be a telling gauge for the state of access at the multiplex. After little effort from the distributors of the franchise to ensure accessibility for Deaf audiences, will they finally follow the example set by the releases of CODA and Sound of Metal, which were all open-captioned?
However, the trial of new subtitle glasses, WatchWord, in a small handful of UK cinemas may render gains superfluous by the time any future titles in the franchise are released. The technology aims to remove the need for open subtitles at the cinema in favour of individually worn subtitling tech. Whilst early reports are mixed, cinema-goers reliant on subtitles will be following the trial with interest.
The recent launch of Crip Cinema Archive by Emily Simmons aims to both be a resource and push forward the conversation on disability representation. In an interview with Little White Lies, Emily candidly reminds us that disabled people ‘..aren’t a niche audience and we shouldn’t be segregated.’ This GAAD, it’s a good reminder that the needs of disabled people are important and must be considered on this day and all year round. After all, what is cinema if not a celebration of what it means to be human? That means we must achieve the perfect trinity - disabled people onscreen, behind the scenes and in the audience. Until this happens, I’ll be here shouting for our needs to be met, this GAAD and all year round - the audio description says, ‘girl with a megaphone,’ as the subtitles read, ‘Access now, please.’
Florence Grieve (she/her) is a deaf film lover, writer and poet based in Bristol. She writes about disability and access, including her experiences of subtitling and access for Deaf audiences, and is working with local film organisations to improve accessibility for disabled audiences. Her poetry has been published in Mslexia, Acumen and broadcast on BBC Radio Bristol, she was runner-up in the Bristol Lyra Poetry Festival Slam 2024. You can follow her on Instagram @florence_grieve
Reclaim The Frame and ScreenSkills have teamed up to offer a free webinar for early career filmmakers, onwards, to gain knowledge about financing and fundraising for feature films, and about how to secure the rights and paperwork you need ready for financing. With an aim to be inclusive to all, including those who might feel marginalised within the industry, both sessions will take place online and include the chance to ask the speakers questions without judgement.
In Demystifying Financing, we’ll hear from funders, investors and commissioners about the opportunities they offer, and what they look for in projects, pitch decks and funding applications. Together we will explore different routes to finance across development, production and post, and what is needed to close financing.
In Demystifying Legals, we’ll look at how to set up a deal and secure the rights you need, ready for financing. From how to option a book or screenplay, through to what’s involved in a writers, development or contributor agreement, we’ll look at the chain of title, from origination to exploitation, the various agreements needed, and at what stage to bring in a lawyer.
This webinar is being produced by UK film charity Reclaim The Frame whose mission is to champion marginalised gender filmmakers and build community for them, and ScreenSkills, the industry-led skills body for the screen industries – film, television (including children's, unscripted and high-end), VFX (visual effects), animation and games.
Both sessions are free and open to all and will be live captioned and BSL interpreted.
For Demystifying Finance, please register HERE
For Demystifying Legals, please register HERE
If you wish to attend both, please register for both.
Session 1 (11:00 - 13:20): Demystifying Film Financing
11:00 - 11:15 Welcome / intros from Melanie Iredale, Director of Reclaim The Frame, and Emma Turner, ScreenSkills' Head of Film, Animation and Future Skills.
11:15 - 12:00 Panel / presentations - incl Q&A:
In Demystifying Financing, we’ll hear from funders, investors and commissioners about the opportunities they offer, and what they look for in projects, pitch decks and funding applications. Together we will explore different routes to finance across development, production and post, and what is needed to close financing.
Speakers will include:
Mia Bays, Director, Filmmaking Fund at BFI
Amy O’Hara, Development & Production Executive at Film4
Claudia Yusef, Head of Development at BBC Films
Erica Motley, Creative Partner at Impact X
Sophie Green, Head of Acquisitions & Development at Bankside Films
Tolu Stedford, producer (moderator)
Break: 12.pm-12.10pm
12.10pm-12:55 Session 1 cont’d: Panel / presentations incl Q&A
1pm close
Topics covered will include:
What funders/commissioners/financiers are looking for
Different types/sources of funding: Commissions, public funding / grants and private investment / equity and debt financing
Funding/support at each stage: development, production, post-deals
When/where to look for pre/sales
How tax credits work
What’s needed to close financing
Session 2 (14:00 - 16:00) Demystifying Film Legals
14:00 - 14:10 Welcome / intros from Melanie Iredale, Director of Reclaim The Frame, and Emma Turner, ScreenSkills' Head of Film, Animation and Future Skills.
14:10 - 14:55 Panel / presentations incl Q&A:
In Demystifying Legals, we’ll look at how to set up a deal and secure the rights you need, ready for financing. From how to option a book or screenplay, through to what’s involved in a writers, development or contributor agreement, we’ll look at the chain of title, from origination to exploitation, the various agreements needed, and at what stage to bring in a lawyer.
Speakers will include:
Ana Santos, Head of Legal & Business Affairs at Bankside Films
Suzanne Alizart, Head of Business Affairs at Doc Society
Fozia O’Dowd, producer (moderator)
Break: 14.55pm-15.05pm
15.05pm-15:50, Session 2 cont’d Panel / Presentation incl Q&A
Closing remarks: 15:50-16:00
Topics covered will include:
Optioning - Considerations when starting a project with writers and/or IP.
Development - What to expect and the importance of getting deal terms right for you.
Financing - What is needed for the package and when is the right time to start conversations.
Thinking about the 'Three P's: Pre Production; Production; Post - Production
Navigating Sales and Distribution - thinking about when and how is best to approach your Sales and Distribution partner and what materials to go there with.
