KOCHI: The term master may be gender-neutral in cinema convention, but it has traditionally been associated with men, denoting experience and expertise. Times, however, have changed, and so has this tradition.
This year, the International Film Festival of Kerala (IFFK) has placed a determined focus on the works of women filmmakers and technicians, highlighted by the presence of experienced and illustrious female figures in world cinema.
Through masterclasses, audience interactions, mentorship of young filmmakers, and jury roles, these women showcased their expertise and proved that if they could brave the male-dominated industry of their time, women filmmakers today have a more conducive environment to leave their mark.
The presence of such masters was a standout feature of IFFK, alongside a diverse array of women-centric and women-led films, presented both as part of regular sections and special packages at the week-long annual celebration of cinema.
Ann Hui
Lifetime Achievement Award winner Ann Hui has worked in cinema for over three decades. For her, the work itself took precedence over reflecting on gender discrimination. “Filmmaking was difficult even for men, so I didn’t focus much on being discriminated against as a woman,” says the filmmaker based in Hong Kong. “However, in hindsight, perhaps being a woman had an effect.
My 2014 film Golden Era might have received a bigger budget had it been directed by a man. But I was too engrossed in work to notice.” Ann, who made a big bang with Boat People, urges women filmmakers to concentrate on content rather than talking about lack of opportunities. “I don’t think there’s much discrimination now, mainly because such things get exposed quickly. It is better to not be conscious of your gender identity. Instead, one should concentrate on doing good, great films,” she smiles.
Beatrice Thiriet
French composer Beatrice Thiriet, part of the international competition jury and a resource person for a masterclass, is known for her melodic touch in cinema. She has faced her share of challenges as a woman in a male-dominated field. “They probably doubted if I could deliver as a musician,” she recalls. “But I was lucky to find women directors who believed in me, and male ones too, many of whom remain close friends.”
Despite being overlooked early in her career, Beatrice persisted. “Those days, there were hardly 10 women composers globally; now, 20 per cent of composers are women. Filmmakers include 40 per cent women. It’s not as lonely for women now,” asserts the 64-year-old, known for films such as Petits Arrangements avec les morts, Lady Chatterley and Bird People.
Beatrice recalls a time when she used to “reach out to women professionals” to form a network. “I still do it. That is how we can encourage more women to be equal partners in any sphere of life,” she says. “I belive that things will get better if we are empathetic, stay focussed and work hard. I taught the same to my four daughters as well.”
Agnes Godard
As IFFK unfolded, one name resonated widely: that of French cinematographer Agnes Godard, head of the international competition jury. Agnes’s illustrious career in world cinema began in the 1980s when she worked as an assistant to some of the industry’s greats. Her first project was a television production, Room 666, where she met Claire Denis. This marked the start of a lasting collaboration, with their first film together being Chocolat.
Agnes went on to become Denis’s regular collaborator. Their 1999 film ‘Beau Travail’, for which she handled cinematography, was part of the jury package at IFFK. Reflecting on her journey, the 73-year-old says women veterans may not have drastically altered the landscape, but they initiated change. “It was not easy. In my case, I was totally convinced about cinematography’s role in cinema and stayed focused,” says Agnes, who is a recipient of the César Award and the Pierre Angénieux Excellens in Cinematography at Cannes.
“There was some luck too, as I got to work with people who believed in me. But I have never seen them as male or female – to me, they were directors. There were tough times, but I resolved never to quit and be firm.” Agnes says she discovered her passion for visual storytelling by observing her father, a photographer. Decades later, she continues to lead a young, gender-diverse crew. “I learn as much as I give them. If it’s technological advances from them, it is aesthetics from me,” she says. While acknowledging the slow pace of change, she believes it is for the better. “Slow change is good, safer. What is important is to be on the move. If women want something, they should stay focused and keep moving.”
Nana Jorjadze
Georgian filmmaker Nana Jorjadze, another member of the international competition jury at IFFK, debuted as an actor in 1977 and as a director in 1979 with A Journey to Sopot. Her breakthrough work, My English Grandfather (1987), gained recognition at Cannes, but her global high point was A Chef in Love, the first Georgian film to be nominated for an Academy Award. The 76-year-old, known for her vibrant personality, credits Georgian culture for defining her cinema.
“To me, Georgia is known more for liveliness, love, and wine than as the birthplace of Stalin,” says Nana. “There is enough freedom in its structure, which is why Nutsa Gogiberidze became the first woman filmmaker in the 1920s, even though she was sent to the Gulag during the purges. So, I have not faced many issues being a woman.” Nana’s films remain rooted in Georgian identity, bridging the Communist era and post-Perestroika hope.
“Georgia’s identity as a historically rich culture is what I always put forward, and I have not changed that language of my cinema ever,” she says. Her advice to women is to embrace their strength and identity. “A woman is elementally strong with the capacity to be a mother. I have balanced many such roles, and everyone could sense my passion for cinema,” says Nana. “Instead of trying to be like a man, women should assert their identity and strength. If they want to do something, do it and never stop.”
As we wrap up, salutes to two other ‘masters’ who quietly graced the IFFK: French producer Golda Sellam (a two-time festival curator), and actor Shabana Azmi, who was the guest of honour. These women masters have brought an energy of achievement to IFFK. They entered the field when few women did, strategised their work, and made an indelible mark. True inspiration for the women filmmakers of today.