Talent is Everything
I don’t consider myself to be a pure feminist. It hasn’t been something I have had to do actively. I think that is exactly how we have ended up having such a successful group of female directors working for CZAR. For over ten years we have had a roster that focuses solely on talent. These directors are capable of anything, whether it be creating films about womanhood, car commercials or sleek fashion films. Seeing so many initiatives that support the concept of women being able to do it all is exactly the kind of mentality I believe in. Their gender is irrelevant, their abilities are exceptional.
Films are often called ‘too feminine’, the way you would call candy too sweet or lemons too sour. Usually the films that are categorised as ‘too feminine’ are films that come off as being overly sensitive. Those with stories about love and friendship where, somehow, it’s always spring or summer. The colours are bright or pastel, and subjects tackled are light and easily digested. At what point in time was it decided that this was how ‘femininity’ was deemed/doomed to be defined?
Even the word ‘sensitive’ has been abused, developing a negative connotation over the years. It is burdened with the image of someone overreacting and crying over small things, like spilled milk or a hair in the wrong place. However by disparaging the idea of sensitivity, we risk losing its power. The real definition of sensitive is a person who is quick to detect changes in an atmosphere or someone who has a delicate appreciation of others’ feelings. People with a high level of empathy looking to relate to other people’s stories. That really allows themselves to feel and experience life to the maximum, allowing them to invest so much in their craft to a degree where it merges with their daily life. If sensitivity is deemed to be ‘too feminine’ then perhaps we ought to re-evaluate what we mean by those words.
So, here are five directors that are completely breaking apart the definition of ‘too feminine’.
#1 “Finally” by Marit Weerheijm
‘Finally’ for Pink Ribbon is a comedic and heartwarming coming-of-age story about being a young girl. Its ending is a surprise, a reality check every woman needs to hear.
#2 ‘Visit Iceland’ by Andrea Jade Colomb
The narrative of an eccentric couple’s trip through Iceland, exploring unknown foods, striking sceneries, and unexpected situations.
This commercial for Netflix plays on people’s guilty pleasures. The film says that we all have six shows in common, and demonstrates the unlikely pairings this can mean.
Thalund looks to end the whispering, the hiding of tampons, and the sweater-around-waist-to-hide-stained-pants method; ‘Period’ celebrates the raw reality of womanhood.
#5 ‘OSU’ by Judith Veendendaal
Earning Judith a Young Directors Award in 2017, this film is a narrative representation of OSU: the strength and character gained by pushing past one’s limits.
What these films all have in common is a genuine connection with the characters and their lives. They all carry an uncanny depiction of the atmosphere and mood of the locations they inhabit making sure to stick to the reality at hand and ensuring the narrative is never lost.
I believe in celebrating talent. These directors, and countless others, are not only proving that the notion of the feminine is not one that should be confined to a certain kind of film, but also that they are more than capable of creating all kinds of high calibre content. They are storytellers through and through with a strong desire to showcase the depth and beauty behind every individual.
Karlijn Paardekooper is executive producer at CZAR
