Young Filmmakers Research Articles

Pesan Singkat Film Budi Pekerti: Beretika dalam Bermedia

This research discusses the meaning, messages and wisdom displayed by the characters in the film Budi Pekerti. Just like a show, the requirements for meaning and message are also the mandate and wisdom to depict and emulate attitudes, acting and human behavior in life as the meaning and function of a good film. It contains signs that contain many lessons. That's what the film Budi Pekerti wants to convey. Characteristics is not just a film title, but also morals in its plural and real meaning. The morals contained in the nation's values are the values of Pancasila. Good manners in using social media and ethical and wise use of social media. Character films are a long bridge whose end is not yet visible. As if describing the faces of social media and netizens who are always correct with all their posts. In this research, the author dissects the imagination of young filmmakers in Indonesia who not only present love stories, but also social criticism of society. This film is a "thinking" film made by young filmmakers in Indonesia who elevates the level of Indonesian films not only about love and ghosts. Being wise in media is a short message that this film wants to highlight. The posts and handprints of netizens who don't know the truth have actually become the absolute truth. Because truth in social media is not determined by the actual truth, but by the number of posts and threads, feeds or stories on social media. The virtual world dominates the real world. The digitalization of thinking and the freezing of human ethics is the main point that humans sometimes believe more in the words of the media, rather than honest words that come out of the mouths of other humans.

A Glimpse of Humanity and Inhumanity in the Films Pariyerum Perumal and Kanni Maadam

Cinema is an extensive platform for visualizing ideologies through entertainment and discussing issues artistically. Cinema plays a main role in human life like literature, painting, poetry, folk songs, etc. It is a tool to explore emotions created by filmmakers and stimulate them in the audience which is correspondingly a reflection of the society that speaks about massive issues like politics, history, relationships, adventure, etc. Over time cinema started to portray social injustices, especially by shedding light on marginalized communities. Cinemas mostly characterized Dalits as inferior neglecting their hardships but consequently started to represent their protest for identification and social equality. Contemporary young filmmakers in India are filling the space to speak caste politics honestly. This paper analyzes social inequality through select Tamil films, Pariyerum Perumal and Kanni Maadam, which articulated an extraordinary message by trying to picture the humanity and inhumanities displayed in the caste-practiced society. Humanity is one of the central elements that distinguish living from non-living. Exhibiting humanity in recent times is directly proportional to the necessities of the individual. In such a situation, an individual or community showing humanity to those who displayed inhumanity towards them is astounding. The select films explore the same by emphasizing how humanity displayed at the unexpected and undeserved moment can alter a person’s ego and change society virtuously. The paper also puts forth suggestions on how the marginalized can be uplifted and empowered by the theory of egalitarianism.

Analysis of China’s Film Industry in 2022

Abstract In 2022, the COVID-19 epidemic significantly affected the effective supply of films in China, whereby the market fluctuated, and box-office sales decreased. However, China’s resilient film industry continued to persevere with quality products being released. New government policies were launched to help the industry’s enterprises alleviate their difficulties. Due to these policies, film enterprises endured to reduce costs, increase efficiency, and survive the difficult times. While the top-grossing films supported the market, a number of small and medium budget films were successful, with the reputation of young filmmakers growing rapidly. Creating healthy industry ecology, rebuilding the confidence of practitioners, giving full play to the main role of the market, increasing the effective supply of diversified products, and promoting the vertical and horizontal integration of film within other industries are of great significance to the recovery of both the Chinese film industry and its market in the post-epidemic period.

Mini-documentaries and the invited gaze: an effective way of cross-cultural communication

The nature of mini-documentary is to be true to the story. But being true is not necessarily the replicate of the original, instead, the director can restructure the story based on the original and make it more artistic and enjoyable for the audience. It would be ideal if viewers from different walks of life can take pleasure in interpreting the film in their own ways. A recap of the documentaries about China both from home and abroad reveals either the bias or superficialness to a large extent. The long-term and systematic representation of the people and stories about China is what we need to shed the bias and the misrepresentations. This paper takes the Looking China Youth Film Project as the case to analyze a cross-cultural communication model that enables the international young filmmakers to experience and know about China.

Alternative distribution and its role in the promotion of films produced by the Irzykowski Film Studio between 1981–1984

The Irzykowski Film Studio was founded in 1981 as an institution that allowed young filmmakers to start their careers directly after graduating from the Film School. The studio could produce medium-length and short feature films and documentaries as well as animation. Nevertheless, all these types of films, according to the statute confirmed by the minister, were not to be officially cinema distributed, since they were supposed to be treated as a film exercise, a kind of practice run. Finally, it turned out that the Irzykowski Film Studio productions were regarded as fully fledged films that could compete with films produced by Film Units (i.e., the professional organizational entities of the Polish film production system at the time) or short film studios. What is not without significance, most films (not to say: all) were politically controversial. Therefore, the leaders of the Studio decided to show films to the audience, but they could not do it officially by applying for referral to cinema distribution. In connection with this, they were shown at small film festivals, inner (unofficial) screenings, and illegally distributed on VHS tapes. By extension, the range of distribution was narrow, but, curiously enough, the films were attracting a lot of interest from film critics, audiences and... state authorities. The aim of this paper is to analyze the alternative distribution process that occurred at the Irzykowski Film Studio. What films were shown at festivals, at internal screenings, and which were illegally copied onto VHS tapes? Had all the films shown been censored? How did state censorship react to test screenings with the audience? How did the critics and audience perceive these films? Did the presence of films at festivals influence their cinema distribution? And finally: how did the promotion and festival distribution of these films affect the perception of the Irzykowski Film Studio among the state authorities?

Arytmetyka polskich debiutów fabularnych (2006-2021)

The author used the quantitaive method to examine the full-lenght feature polish debuts from 2006-2021. The aim of the article is to present the dynamics of the field of young polish cinema in the reality of Polish cinematography after the founding of the Polish Film Institute. The author examines the rookie’s profile in terms of age, gender and education. He also checks which entities from the audiovisual industry most willingly produced debuts, which companies most often distributed them, and what results did this type of films achieve in the box office. The research is also accompanied by an attempt to recreate the institutional environment in which young filmmakers have operated for the last 16 years.

Home Is Where the Horror Is (2022)

Home Is Where the Horror Is (2022) Jason Zinoman (bio) Sometimes facing your fears isn't enough. You have to scrutinize them. In an attempt to understand my own nightmares—and the ones that shaped our culture—my first book, Shock Value, published a decade ago, examined one of the great eras of modern film: the revolutionary scary movies made between the late 1960s through the end of the following decade.1 I called them the New Horror. To tell the story of its artists—masters such as Wes Craven, Tobe Hooper, John Carpenter, and Dan O'Bannon among many others—I interviewed them about their work with an ear sensitive to what this group shared. One surprisingly common thing I discovered was an embarrassment about working in the genre itself. To the people who made Halloween (Carpenter, 1978) and Alien (Scott, 1979) horror, as they had understood it since they were young, was lowbrow, disreputable, the kind of thing you didn't want to tell your parents about. To hear these great artists tell it, the genre they worked in was kid's stuff. Sadly, most of the filmmakers I wrote about in the book have died, but part of their considerable legacy is to change the reputation of horror and consequently the atmosphere that their successors work in. The genre is not only bigger and more lucrative, a persistently popular part of the cultural diet, but also more respected. For young filmmakers, there is no shame in working in the genre of The Texas Chain Saw Massacre (Hooper, 1974). There are downsides to the growing stature of horror, to be sure, but also [End Page 289] advantages, a new sense of the possible that allows for growth. The recent expansion of the genre is what inspired the article below, which I wrote for the cover of the "Arts & Leisure" section of the New York Times in 2018 about the artists at the forefront of an ambitious new direction in horror. Building on the work of their predecessors, their work appears unshackled from any status anxiety over genre and deals directly and expansively in mature themes. They are making movies that kids enjoy but are primarily aimed at adults. Since I wrote the article this trend has only intensified, and its impact is evident in recent movies such as Relic (James, 2020) and She Dies Tomorrow (Seimetz, 2020) that speak to the terror of isolation in the age of COVID-19 better than any new mainstream dramas. This new grown-up horror has produced movies that I believe will be studied and imitated just like those from the 1970s were. This essay, and the others in this journal, attempt to understand this new golden age. _____ What happens when your family is what frightens you? A new renaissance in scary movies skips jump scares in favor of dread based on adult fears. In Hereditary (Aster, 2018), bugs crawl from decapitated heads, ghosts lurk in the shadows, and an artist tries to communicate with the dead. But the most jarring moment of this terrifying new movie might be when Annie, a mother played by Toni Collette, tells her son she never wanted to have him and tried to induce a miscarriage. Then she wakes from this nightmare, unsettled by the thoughts rattling in her subconscious. Parental guilt is the real monster here. Moving into territory once the preserve of prestige dramas, horror has never been more bankable and celebrated than it is right now. And while evil clowns and serial killers at sorority houses still haunt young viewers (and make tons of money), we're in the midst of a golden age of grown-up horror. Hushed and characterdriven, this mix of indie fare and blockbusters works ferociously on adult anxieties in an age of dislocation. These movies have confronted liberal racism, economic worries, and family dysfunction, and while horror has always reflected the social and political concerns of its day, if you had to pinpoint a unifying theme that distinguishes this renaissance, it's the ominous danger of overwhelming grief. A character coping with the death of a loved one is the new car of teenagers heading to a...

Social-Cultural Values Embodied in the film of Bumi Manusia

The purpose of this study is to find the values conveyed in the film of Bumi Manusia regarding the social values of the Javanese people and to find out the cultural values conveyed in the film of Bumi Manusia regarding Javanese society. This research is included in qualitative research. The type of research that researchers use is research (documentary research). The data collection technique carried out is to identify several images and dialogues contained in shots and scenes which depict the social and cultural values of the Javanese people. By using descriptive methods and content analysis methods, namely analyzing scenes, and character dialogues based on social and cultural values. The results of this study are expected to be able to answer research questions about social and cultural values in a film and later can be scientifically accounted for and provide advice to young filmmakers in their work.

Changing the story: Intergenerational dialogue, participatory video and perpetrator memories in Cambodia

Questions of reconciliation and memory after genocide and conflict in Cambodia remain finely poised. Young people often do not believe the stories of hardship and loss of the older generation, and cleavages remain between divided and stigmatised former factions. This article reflects on a series of participatory video projects led by young Cambodians that sought to engage and explore complex ‘perpetrator’ memories with the aim of building dialogue across communities and generations. Working in partnership with the Documentation Centre of Cambodia through 2018, our participatory-video project sought to document the experiences and accounts of former lower level Khmer Rouge community members. Through a discussion of the 11 films produced, and young filmmakers’ reflections on their involvement in the project, we show how participatory video allows and produces interventions on memory that can renegotiate, augment and contest dominant narratives of past violence. Crucially, we argue, that when read together, the films outline the contours, ambiguities and contestation of claims for ‘complex victimhood’ in Cambodia, and the problems of stabilising singular stories of past violence. We argue that this has implications for transitional justice more broadly, which is a field that tends to rely on neat distinctions of victim and perpetrator and shared accounts and meanings of past harm in the ways it intervenes on memory.

A report on FIRST International Film Festival and an interview with young filmmakers

The FIRST International Film Festival is an annual grand event for young Chinese film professionals who have just started their careers as film directors. Its current development situation highlights the festival’s importance in the pandemic context. This article is comprised of interviews with attendees at the festival, especially the competitors, and provides a lens through which to interrogate how Chinese young film professionals as neophytes adapt to the post-pandemic environment of the Chinese film industry. By seeking their views on film production, distribution and the festival, this article aims to reveal the state of the film industry during the pandemic and in the post-pandemic period, the current living situation of young Chinese film professionals, how these film professionals connect with the industry and market and how these connections impact on their filmmaking practices.

On Storytelling in Participatory Arts with Young People: The Gaps in the Story, by Catherine Heinemeyer

On Storytelling in Participatory Arts with Young People:The Gaps in the Story, by Catherine Heinemeyer Rachel Hedman (bio) Storytelling in Participatory Arts with Young People: The Gaps in the Story, by Catherine Heinemeyer. Palgrave Macmillan, 2020. ISBN 978-3-030-40580-9. $99.99 USD Hardback. ISBN 978-3-030-40581-6. $79.99 USD. Storytelling has long been an educational tool. In Storytelling in Participatory Arts with Young People: The Gaps in the Story, Catherine Heinemeyer traces the century-long evolution of "storyknowing," the way stories become knowledge. Educators, mental health counselors, and storytellers who purposely work with youth see different narrative worlds interweave. Heinemeyer addresses the potential of storytelling with and by adolescents and focuses on the gaps within the traditional triangular relationship between listener, storyteller, and story. These gaps include the happenings and interactions from listener to storyteller, from storyteller to story, and from story to listener. While many of the particular needs of youth have not changed significantly over the decades, Heinemeyer proposes that through social media and accessible technological tools to make, today's youth have expanded capabilities to tell their stories and to represent themselves to peers and adults. [End Page 157] Storytelling in Participatory Arts aims to serve as a self-discovery tool and to define participatory telling through applied research. Heinemeyer summarizes hundreds of storytelling sessions with 400+ youth involved with the Maple House, a residential youth mental health unit where she led weekly sessions, and a two-year residency linked to City School, which includes training programs for youth and staff along with an empowering lunchtime storytelling club for youth. Heinemeyer also draws on her experience with Acting Up, a theater program for youth with learning disabilities. Finally, Heinemeyer delves deeper into her highly documented field notes and evaluations from working with youth between 2013 and 2016. These findings are curated on a website at www.storyknowingwithadolescents.net and as reflections on her blog at www.storytellingwithadolescents.blogspot.com. I have advocated for and been involved with youth storytelling since 1994, and still found much of interest in Heinemeyer's work. One major limitation of this book, as the author notes, is that the focus rests primarily on experiences in England, leaving out the diversity of practices that occur worldwide. Even so, Heinemeyer provides compelling examples of the breadth of storyknowing possibilities for youth: Kevin Cordi's high school storytelling troupes in California and Ohio; Storytelling Centre in Glasgow with storytelling clubs for secondary school students; Belfast's Fighting Words project that has students write and speak their own stories; Real Talk in Scotland, a program that supports the mentally ill; Freedom Theatre in Palestine where youth combat images of violence with fantasy stories; Inspired Youth, where young filmmakers develop storylines based on true stories; Company Three, a theater troupe that presents plays for and by youth; and The Verbatim Formula, which conducts workshops for youth to shape their own stories to present on that stage. These youth-oriented programs bring hope to the global storytelling movement and to story arts practitioners. Storytelling in Participatory Arts is divided into three parts—Storyknowing, Telling Stories, and Story Gaps—followed by three appendixes—Practitioner Interviews, Story Games and Structures for Dialogue, and Recommended Further Reading. The book begins with a story about John, a resident from Maple House. Heinemeyer had asked all the inpatients to think of "watery memories." John told a story about running away from Maple House, and despite being a negative story about the very establishment where this workshop was taking place, the staff at Maple House encouraged John to develop his story further. [End Page 158] This empowered John to perform in front of nonparticipating youth, and finally John tapped into his skills as a lyricist and wrote a song. His energy toward the project inspired the other youth to be more heavily involved. Heinemeyer steers the workshop to "dialogic" storytelling that helps the listener-turned-storyteller to better meet their needs. Later, the author further explains "storyknowing" and its implications from an educational standpoint. Heinemeyer defines her methodology as "practice as research" and traces the evolution of storytelling as a classroom tool. Focusing on how storytelling has...

Sueños al pairo (Dreams Adrift 2020): On censorship, archival footage, and independent Cuban film

In this article, I offer an analysis of the Cuban documentary Sueños al pairo (Dreams Adrift), which was scheduled to premiere in April 2020 at Havana’s young filmmakers’ annual showcase. While the documentary was immediately censored preventing its premiere, I examine how the filmmakers José Luis Aparicio Ferrera and Fernando Fraguela Fosado use multiple levels of hidden, and lost archival footage and memory to create a platform for the censored lyricist Mike Porcel to write him back into Cuban musical history in their documentary. Through the inclusion of the archived past, I consider how the documentary contests what Derrida refers to as archival house arrest by bringing the hidden images and stories back into the present.  In doing so, I explore Arenillas and Furtado’s research on the relationship between documentary and the law, to consider how documenting the past in the public present creates a space for intervention. While state censorship of artists is not new in Cuban film, Sueños differs because it does not focus solely on the government’s responsibility; instead, it also studies the role of his artistic community in contributing directly to his silencing and does so from island-based filmmakers in dialogue with the diaspora. Despite a promising new legal framework for independent cinema, the censorship of Sueños’s premier appeared as a continuation of the same control Porcel had experienced years before. However, I show how the resounding artistic community response rejecting the film’s 2020 censorship and its refusal to premiere their own films, points to a rupture with Porcel’s censorship and Cuban film’s past, thus highlighting a space for artistic solidarity absent in Porcel’s time.

Aesthetics of Symbolism and Semiotics in Afghan Cinema

Symbols and symbols are two important semantic criteria in the aesthetics of cinema. Semiotics studies the production and presentation of meaning and concept in any work of art. By sending codes and symbols, the sign tries to express other meanings in the interpretive language other than its apparent meaning. Therefore, art that is mixed with the language of symbols and signs has very deep cultural and traditional meanings and concepts of that border and environment. To get the meaning of the image, we must have a complete and accurate knowledge of the language of symbols and signs. Symbols and symbols are widely used in movies and television all over the world. Also, in many films produced in Afghanistan, many signs and symbols have been used but not the symbols and signs that are used all over the world Rather, traditional cultural and traditional symbols have been used in Afghanistan. This was quite different in post-war films, especially in the post-Taliban era in Afghanistan. Throughout the history of Afghan cinema, Afghan cinematographers have never tried to address the origins of signs. Rather, they were content with a generalization of symbols and signs. One of the uses of symbols and signs is to create suspense in drama and storytelling. But Afghan filmmakers could not use symbols and signs to create suspense for their audience. This led to the failure of many films and filmmakers to use symbols and signs in Afghan cinema and caused to lose their internal and external audience. But in recent years, new and young filmmakers have entered the world of Afghan cinema in this field, they were able to make good use of symbols and signs and engage the minds of their audience with symbolism and semiotics. And convey the specific message of the film to them through symbols and signs.

Sugiharti Halim (2008): A Cinematic Portrayal of Chinese Indonesian's Ambiguous Identity

Sugiharti Halim (2008) provides a cinematic insight into the lives of Chinese Indonesians whose identities are perpetually labeled as liyan (other) in the eyes of the inlanders (pribumi). It narrates the story of Sugiharti Halim, a Chinese Indonesian girl, who struggles with her Indonesian sounding name which, instead of successfully assimilating her Chinese identity, makes her even more Chinese than before. This study aims to investigate the cinematic portrayal of Chinese Indonesian’s ambiguous identity as experienced by the female protagonist. The writer employs close textual analysis of the indie film and approaches the issue by the reading of cinematic codes (mise en scene) and the theoretical perspective of name giving developed by Watzlawik in 2016. The conflict highlited in this “indie” criticizes the position of Chinese filmmaker for being pigeoholed on the ground of their ethnicity as portrayed in most commercial films which put Chinese more as a marginalized group. Therefore, the study reveals that films have become a new means of politicizing the interest of certain ethnic group which somehow puts the Chinese Indonesians in their most vulnerable position. The study also concludes that independent films help the young Chinese filmmakers to reconnect with their Chinese heritage as they begin to pick up bits of their Chineseness which were previously miscontrued by the inherited ideals of the New Order regime.

Multimodal Voicing and Scale-Making in a Youth-Produced Video Documentary on Immigration

This study builds on research of multimodal storytelling in educational settings by presenting a study of a youth-produced documentary on immigration. Drawing from a video documentary project in a high school class, we examine students’ representational processes of scaling in documentary storytelling, and the kinds of resources they use to construct multiple spatiotemporal contexts for understanding their experience of immigration and immigration policy. Our theoretical framework relates the concept of scale to the Bakhtinian concept of voice to consider the semiotic resources that are used to index and connect multiple social and spatiotemporal contexts in storytelling. Focusing on a documentary produced by some students in the class, we analyze how the young filmmakers used particular speaker voices (characters) and their social positioning to invoke and construct relevant scales for understanding the problem of deportation. Our analysis extends the study of scaling to multimodal texts, and the strategies that people use to represent and configure relationships among different socially stratified spaces. By conceptualizing the relations between voice and scale, this work aims to contribute to literacy learning and teaching that support young people in bringing their knowledge, experiences, and narrative resources to engage with societal structures.

Banlieue Films Festival (BFF): Growing Cinephilia and Filmmaking in Senegal

This article examines small film festivals in the socio-cultural context of Senegal. Through the case study of the Banlieue Films Festival (BFF) in Dakar, founded in 2013 by Abdel Aziz Boye, I analyse the crucial role of festivals in strengthening the film industry, fostering cinephilia and encouraging the practical application of cultural policies. I suggest that contemporary film production, particularly, in the past five years (2015-2020) has been significantly shaped by grassroots initiatives that have eventually been transformed into structures. I also explore the role of “rooted cosmopolitans”, borrowing Kwame Appiah’s term in relation to the figure of Abdel Aziz Boye, who founded Ciné UCAD at the Université Cheikh Anta Diop, in Dakar, Ciné Banlieue, and, upon returning to Senegal from France, the BFF. I discuss BFF’s various forms of legacy, concluding that it has been an active agent in forging a new cinephilia and inspiring a wave of young filmmakers in Senegal.

Soviet Cinema Avant-Garde: from Notional Reality to Life Material

The article emphasizes specific features of the Soviet film avant-garde of the 1920s. Whereas the Western version of the avant-garde did not trust physical reality, the Soviet film avant-garde did not abandon it. On the contrary, the domestic film avant-garde turned its attention to the surrounding reality and used it as building blocks of the new art. A new historical reality becomes a new artistic reality. In Soviet cinema, the rejection of the past, which is traditional for the art of the avant-garde, means the rejection of theatrical and cup-and-saucer plots, film adaptations of classical literature. Young filmmakers focus on the reality under renovation. This reality is far from being dead sets created on a sound-stage and simpering characters; it is a living stream of city streets, objects and faces. A live human face also appears in the mass, the new hero and the discovery of the Soviet cinema avant-garde. The mass becomes aware of itself as a single body through the acquisition of the face. It is in the Soviet film avant-garde that the faceless extras transform into a live multi-faceted and diverse collective subject. The author considered the attainment of the face as one of the main findings of the cinema avant-garde based on the material from the films of Eisenstein, Vertov, Ermler, Room, representatives of the FEKS association. The domestic film avant-garde rehabilitated all the so-called "grassroots" genres of the performing arts primarily, circus buffoonery, demonstrating their possibilities for expressing a new reality. The Soviet film avant-garde chooses strategies for the history and modernity carnivalization as a tool for mastering the new reality and criticizing the past. One can trace these strategies in a system of montage principles developed by Eisenstein and Vertov and based on the dichotomy of creation-destruction, life-death.

Marsjanie. Borowczyk i Lenica na Międzynarodowym Konkursie Filmu Eksperymentalnego w Brukseli

The text describes the backstage of the legendary International Experimental Film Competition in Brussels, which accompanied the Expo-58 Exhibition at a turning point of the political thaw in Eastern and Central Europe. The most important representatives of avant-garde cinema and auteur animation of three generations took part in this event. The Grand Prix was awarded to The House of Walerian Borowczyk and Jan Lenica. The prize became the ticket to a European career for these two young filmmakers. The competition was also remembered as a symbolic beginning of the “Polish school of animation” (or the so-called “Polish school of experimental film”) on the global film market. The author of the article also writes about a difficult return to Poland, about a cash prize that caused many problems, about the successes of Polish films in Brussels, and about the reception of The House in Poland and abroad. Finally, he tries to demonstrate why this bleak and difficult to understand film, which builds opposition to the optimism of Expo Exhibitions, won the main prize, beating over 300 competitors from around the world.

Amplifying the voice of youth through planetary health films

Amplifying the voice of youth through planetary health films

The Berlin International Film Festival: A powerful springboard and gatekeeping mechanism for domestic filmmaking

Abstract Film festivals have become key agents in the movie business, with major competitive festivals enjoying outstanding importance. Based on this assumption, this paper focuses on the example of Germany and asks to what extent the Berlin International Film Festival offers a venue for domestic films, and which types of filmmakers, in particular, benefit from this springboard and gatekeeping mechanism. More precisely, given the diverging interests confronting the Berlinale as a platform for the film community, a quantitative program analysis was conducted of the festival’s most significant sections (Competition, Panorama, Forum, Generation, Perspective German Cinema, Lola@Berlinale) from 1980 to 2016. The findings demonstrate that even good-faith efforts to strengthen domestic filmmaking in regard to weight and diversity have hardly changed the power structures that underlie the curatorial decision-making process. Respectively, the share of national film productions has been stagnating for many years. Moreover, female and young filmmakers are still broadly underrepresented.