International Race Fosters Emerging Voices
Female-helmed features make their marks at festivals and in the international Oscar race
AS THE BATTLE for international feature film Oscar heats up, female directors behind this year’s submissions urge Academy members to stay open-minded.
“Many outstanding films won’t be noticed simply because people don’t watch them. Established directors, big production companies or rich distributors are in a better starting position, but I encourage Academy voters to go for bold and diverse choices,” says Estonia’s Anna Hints, who’s behind crowd-pleasing doc “Smoke Sauna Sisterhood.”
“The safest choice is not always the best,” echoes Tizza Covi, who co-directed Austrian selection “Vera” with Rainer Frimmel. “The fact that more women are able to realize their films has made cinema richer. There has never been a lack of female talent, just a lack of opportunities.”
Although known (male) directors are still expected to land nominations, from Aki Kaurismäki (“Fallen Leaves,” Finland) to Jonathan Glazer (“The Zone of Interest,” U.K.), many countries decided to bet on first and second-time female filmmakers instead.
“Senegal has previously submitted films by women, like Mati Diop’s ‘Atlantics.’ As a firsttime director, this selection holds immense meaning,” admits “Banel & Adama” helmer Ramata-toulaye Sy.
“There’s a positive trend with more young female directors finding their place. Full equality remains distant, but trust in women [leading] significant projects is growing. Diversity in cinema is so important and films from all over the world, and not just from the U.S. and Europe, deserve to be recognized.”
Academy members “will be surprised by the jewels they can find, so they shouldn’t rob themselves of this opportunity,” stresses “Excursion’s” Una Gunjak from Bosnia and Herzegovina, another debutante alongside Noora Niasari (“Shayda”), Amanda Nell Eu (“Tiger Stripes”), Ilze Kunga-melgaile (“My Freedom”), Asimina Proedrou (“Behind the Haystacks”) or Valentina Maurel (“I Have Electric Dreams”).
Maurel has similar advice for industry professionals still “stuck in their comfort zone,” calling out France’s decision to select “The Taste of Things” over Justine Triet’s acclaimed “Anatomy of a Fall.”
“Even though I believe it’s a good time for emerging female filmmakers, we are still far from having a fair representation at the Oscars. The odd choice made by France is a glaring example of that. Some say it was for political reasons, but at the end of the day it’s a decision made by film professionals who deemed it more strategic and less risky to select a film directed by a man than one di
rected by a woman, even though it won Palme d’or. And that tells you a lot,” says Maurel.
Agnieszka Holland’s Venice special jury prize winner “Green Border” wasn’t selected either, having stirred political controversy in its native Poland — with animated “The Peasants,” co-directed by DK Welchman and Hugh Welchman, ultimately claiming the spot — while Eu’s Malaysian body horror movie “Tiger Stripes” was censored ahead of local release.
“It has become very bittersweet to represent Malaysia when Malaysians are not able to watch the full version of ‘Tiger Stripes.’ The film’s success has been celebrated back home, but I’m truly sad we cannot share it fully with everyone in our country,” Eu admits, hoping that Oscar voters will learn to embrace “edgier or genre-bending” offerings.
“Films that might have been considered too crazy or wild to even be shortlisted now win in the best picture category. However, I do notice that within the best international feature film category, there is a higher percentage of male directors. It’s evident there is an imbalance,” she says.
“Georgia first submitted a film 22 years ago and yet only six female directors were selected before me. I think there is a lot to be done, for U.S. female directors, too. I don’t see big changes,” notes “Citizen Saint” director Tinatin Kajrishvili.
In 2023, no women were nominated for a director Oscar.
“In most countries, committees try to be on the ‘safe side’ with male directors when it comes to the Oscars, but recent changes in the Academy’s rules and regulations are creating a base for improvements. Awards are extremely important, especially for female directors. They give us a chance to raise our voices and tell our stories,” says Kajrishvili.
Dubravka Turić’s “Traces” marks only the second Croatian submission by a female director. “Women are still underrepresented in the entertainment business. In Croatia, until 15 years ago, we had only one female director,” Turić says.
“Slow’s” Marija Kavtaradze adds: “Among 16 films that represented Lithuania at the Oscars, only four, including my own, were directed or co-directed by women. Still, looking at other submissions this year, I was so happy to see amazing filmmakers like Noora Niasari and Anna Hints.”
Hints notes: “When I applied to film school in 2010, I remember being asked how I was going to manage being a mother and a director. At that time, some people were still suspicious of ‘irrational and emotional’ female directors.” Being selected “showed me that people in the committee really thought about the films. They weren’t trying to choose someone more experienced or a bigger-budget fiction film. It gave me faith in our system.”
“Smoke Sauna Sisterhood” isn’t the only female-led documentary hoping to impress the voters, with Margreth Olin’s “Songs of Earth” already making history.
“It’s the first documentary representing Norway in this category. There are many strong documentary contenders made by women this year and I have been supported by so many female filmmakers on this journey,” Olin admits.
Zaynê Akyol’s “Rojek,” about Syrian Kurdistan, is only the second doc chosen as Canada’s entry. “As a documentary filmmaker, I didn’t expect it, particularly considering its challenging subject matter. My team and I put our lives at risk to make it,” Akyol says. “For most countries, it’s reassuring to select established male directors, thinking they might have more chances to make it to the nomination phase. This trend is concerning, because it’s limiting the beautiful mix of perspectives, stories and styles that should be embraced. It’s my sincere hope that Academy voters will increasingly recognize the value of films that challenge established norms.”
“Thunder” helmer Carmen Jaquier, repping Switzerland, agrees: “I can understand why people vote for reassuring films. However, I believe in cinema as a space for thought, questions and sometimes even discomfort. Female directors are ‘all the rage’ now, but we have to make sure it’s not just a flash in the pan.”
Others simply appreciate being recognized by their peers.
“We do hope [the Academy members] will watch our film, but being an Oscar contender is already an award in itself,” says Mercedes Arias, who co-directed Panama’s “Tito, Margot, and Me” with Delfina Vidal.
“I don’t think my film will win an Academy Award, but I see this selection as a sign that Latvian industry finds my work valuable. Women have to make more effort, be more resourceful and more diligent just to prove they are capable,” notes Kunga-melgaile, who directed ‘My Freedom,” repping the country.
As pointed out by Tunsia’s Kaouther Ben Hania, whose “Four Daughters” marks her third submission — “The Man Who Sold His Skin” earned Tunisia its first nomination — there is no denying the “immense” significance of the award.
“Its importance is even more pronounced for us, African Arab filmmakers, as it serves to spotlight our contributions and enrich the global storytelling landscape with fresh voices and unique perspectives,” she says. “Across numerous regions worldwide, female filmmakers are consistently delivering exceptional work. I encourage Academy voters to invest the time and show curiosity in exploring films from lesser-known countries. By doing so, they may discover unexpected treasures.”
Greece’s Proedrou (“Behind the Haystacks”) chimes in: “I hope that voters keep an open mind when watching international films. Awards are critically important for indie filmmakers like me, as we can’t afford publicity.”
With Lila Avilés (“Totem”), Asmae El Moudir (“The Mother of All Lies”), Lina Soualem (“Bye Bye Tiberias”), Apolline Traoré (“Sira”) and Ayelet Menahemi (“Seven Blessings”) also in the running, female filmmakers are making strides.
“When we look at [this year’s] submissions, there are more films made by men. But when we look at Justine Triet and Greta Gerwig’s accomplishments, women are currently leading —artistically and commercially,” says Ena Sendijarević, whose second film, “Sweet Dreams,” was selected by the Netherlands.
“I come from a country where the history of cinema has been shaped by women and the future looks pretty bright. It would be great if the Oscars weren’t just a springboard for the same kind of films, but if they were representative of the way society is changing,” adds Maurel.