Four feature films by German filmmakers screened at the Toronto Film Festival, and three of them were directed by women – Angela Schanelec’s “I Was at Home, But…,” winner of…
, and three of them were directed by women – Angela Schanelec’s “I Was at Home, But…,” winner of the Berlinale’s best director prize, Ina Weisse’s “The Audition,” and Katrin Gebbe’s “Pelican Blood,” the latter two both starring“It’s a good time for female filmmakers… at least in Germany,” says, the director of “System Crasher,” which won a Silver Bear at Berlin. After the festival she received 35 scripts to consider, and is now working on a major project, as yet under wraps, for a global studio.
“I have heard quite a number of times that it is a risk for producers to propose women directors, because they really have to fight for them in order to convince funding partners.” Working conditions for directors – especially if they have children – is an important issue, with a lack of child care provision, excessive travel, and long working hours being some of the factors putting women off a career in film.
Most female filmmakers would prefer that the focus is on their work rather than their gender, but another thing that the three films by female German directors at Toronto and “System Crasher” have in common is that their central characters are complicated, conflicted women struggling with the constraints that contemporary society places on them.
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