Earlier audience engagement, a tax credit for P&A costs and less emphasis on the opening weekend are some of the methods that could help close the distribution gap for women filmmakers, according to a panel hosted by UK equality in film organisation Reclaim The Frame.
“[The three-day opening weekend model] works for the studios but it is much harder for independent distributors,” said Cate Kane, co-head of global acquisitions at Mubi.
She added the UK sector could learn from the US’ platform release strategy for independent films. “It’s really difficult to pin everything on a weekend and then on Monday morning, you’re having to battle with the exhibitors to get more screens.”
This challenge is only heightened for women and marginalised gender filmmakers whose films, according to Kane, are often given a summer release window, which ends up leaving them out of awards conversations.
“The summer [gives the films] more space for them to grow but it means your film isn’t being talked about for the rest of the year which then automatically makes it harder for your next film if you didn’t get those awards,” Kane explained.
“Having a more open awards corridor would be useful, in terms of strengthening these filmmakers so that every film has the space and attention.”
Audience-first
UK producer Fiona Lamptey discussed the “audience-first” approach at her company Juno Studios through the use of social media and “creator economy”.
“That doesn’t mean we as filmmakers have to be influencers, but those tools give us the ability to engage with audiences earlier in the process,” said Lamptey, who also previously headed up UK film for Netflix. “Instead of waiting till the very end to understand how you speak to your audience and how you sell this film, you’re thinking about them from the start.”
Eve Gabereau, Vue Lumiere director, echoed these thoughts when she spoke on the importance of implemented P&A costs.
“We’ve talked a lot with producers and sales agents about building in a line in the budget for P&A so you’re thinking about it from the very beginning,” said Gabereau, who also runs Modern Film.
Referencing efforts led by the Film Distribution Association (FDA) for a P&A tax credit, Gabereau noted how it would help to “de-risk” distribution. “Upfront costs are high and the revenues are uncertain,” she explained. “[A P&A tax credit] means you’re looking at it as part of the production process and part of the delivery to audiences.”
Girl power
As the US government begins to roll back DEI policies, several of the panellists expressed concerns about a similar method being deployed here in the UK.
“In some ways, we’ve already seen a drop off of interest in all sorts of schemes that started after the Black Lives Matter resurgence,” BFI’s head of inclusion, Melanie Hoyes, noted, speaking more broadly of the industry. “There’s always a risk because people will bend the knee if they’re worried about not getting money, and that’s what’s happening right now.”
Hoyes emphasised the value of diversity went far beyond quota filling. “It’s good business to have a diversity of voices in the room,” she pointed out.
“Women make great leaders because of the empathy and emotional intelligence we have,” she continued. “We’re constantly adapting and having to read the room and change the way that we’re behaving. Those are really good leadership qualities that aren’t always taken into account.”
The panel was hosted by Kate Gerova, who previously helmed Reclaim The Frame as creative director and now runs Mustard Studio. The event took place as part of the charity’s weekend of events to celebrate International Women’s Day and the 20th anniversary of its Birds Eye View festival.
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