Spanish filmmakers call for a forum to address the problem of sexual harassment

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The concern for sexual harassment suffered by women in cinema, after scandal in Hollywood with powerful producer Harvey Weinstein and silence of lead that for years covered his crime known by so many, has spread to Spanish industry. Women filmmakers, gared in Valladolid in meetings organized by Seminci, have called for creation of a forum in which to address and deal with problems generated by possible cases of sexual harassment in sector, in addition to ensuing allegations. The Board of Directors of film Academy is committed to studying petition. Also association of Women of Cinema, CIMA (Association of Women Filmmakers and audiovisual media), created 11 years ago, will prepare a questionnaire to serve as a base to a map of possible cases of sexual harassment.

The Seminci has become this edition in Spanish Film Festival of reference in terms of parity, both in official section, where nine of 18 films that will opt for golden spike are led by women, as in awards of Honor (Two for men , two for women) or in organization of a cycle, supernovae, devoted entirely to audiovisual works carried out by filmmakers between 2016 and 2017. In this context – in San Sebastián Festival, only four of 18 films in competition were directed by women, in a similar proportion to Cannes (three of 18), in Venice (two between 21) and Berlin with four of 24-, women have taken power in Seminci. Occasion that y have taken advantage of to denounce inequality of genres in audiovisual industry in a forum and a roundtable, in whose organization has also participated film magazine Cayman Books of cinema. The data sings. According to a study of CIMA, which will present to complete in first days of November, in 2016, of 31 films that obtained aid to production, only three are directed by women (Isabel Coixet, Icíar Bollaín and Maria Ripoll). As for selective aids in 2017, only 27.7% of ICAA's public monies have gone to projects submitted by women, mostly low-budget films or documentaries.

Gender inequalities in audiovisual industry have emerged in public at a roundtable with representatives of various trades in cinema. Director Chus Gutiérrez, who said she did not know specific cases of sexual abuse, put accent on contents and models of women portraying cinema. "We don't feel at all represented." "Cinema plays stereotypes of women who are not society's." The producer Maria Zamora, head of titles such as Verano 1993, by Carla Simón, great cinematographic surprise of year that will represent Spain in gala of Oscars, has advocated for a greater feminine presence in those forums and committees that really decide Projects. "We have to be at decision-making tables, on committees of festivals and televisions, in public institutions." "It is re that our presence is indispensable" has ensured Zamora, producer also of latest titles of Beatriz Sanchís (all are dead), Nely Reguera (Maria and ors) or next debut in feature film of Clara Roquet.

"Being an actor in Spain is complicated, but much more actress." The words of actress Ana Gracia followed figures, forceful and highly scandalous. According to a study by Union of actors that has been echoed by interpreter, from 35 years down, 60% of roles in film are taken by men compared to 40% of women. These numbers are descending against actresses as age progresses. Thus, between 39 and 45 years, percentage in favor of actors increases by 67% compared to 33% of women. Between 45 and 64 years, difference in favor of male performers increases three points: 70% vs. 30% of actresses. "Women in world of fiction do not exist in relation to our presence in society," reported Ana Gracia.

The writers are not saved from this situation eir. Of ten Spanish films more blockbuster of 2016, none had female signature. Coral Cruz, who has recognized that he had not felt battered or upstageded by fact of being a woman, encouraged writers to break chain that grips to write small films. "Women are able to write stories for big audience." We should not be reduced to intimate and low-budget films alone. So it is difficult for industry to see in us an example of profitability. "We have to rely more on ourselves."