In recent years, many compelling television projects emerging from Flanders share a notable commonality: they are directed by women. The Flanders Audiovisual Fund (VAF) has witnessed a remarkable rise in female directors, with their participation jumping from 22% to 41%. Series such as “Roomies,” created by Flo Van Deuren and Kato De Boeck, have gained both local and international acclaim.
In an interview with Variety, Heleen Declercq, director of “The Class of 2000,” attributes this surge to the new generation of filmmakers who have been inspired by female creatives. Directors like Van Deuren and De Boeck are already serving as role models for aspiring filmmakers. Declercq notes, “Increasingly over the past few years, we’ve observed a rise in women directors, with more females graduating in fiction filmmaking than in previous years.”
Britt Raes, currently transforming her Berlin-selected short film “Luce and the Rock” into an animated series for VRT’s Ketnet, shares similar sentiments about the uptick of women pursuing animation studies. “Having taught at university for several years, I have seen a significant shift in this area,” she comments.
Raes also highlights Emma De Swaef, who co-directed Netflix’s acclaimed “The House,” as a promising talent. She asserts, “Achieving credit for a project like that speaks volumes, and it’s inspiring for younger creators to realize that someone from Flanders can attain such success.”
The forthcoming comedy series “BOHO,” which explores the lives of three 30-something women in Antwerp, showcases the vibrant female creativity in Flemish cinema. Director Olympia Allaert emphasizes the impact of having an all-female leadership team in production. “Given the nature of this series, understanding the characters’ emotional journeys was crucial,” she states.
Series producer Helen Perquy from Jonnydepony points out an ongoing discrepancy, saying, “In many productions, men dominate the heads of departments without anyone raising an eyebrow about it. Yet for women, the situation feels different.” She elaborates on her concern regarding a perceived regression within the industry over the past five years. “Decision-makers seem to be opting for safer choices, and unfortunately, women are not yet viewed as a secure option. It’s a disheartening reality, but the trend favors the established white male figure once more,” she reflects.
Both Raes and Declercq convey similar frustrations, asserting that while more women are entering the industry, they still encounter persistent obstacles. “The doors aren’t entirely shut for me, but I might find myself knocking when a man can simply walk through,” Raes explains. “I’m prepared to knock on those doors, but not everyone possesses the stamina or circumstances to keep persevering like that.”
Lastly, Karla Puttemans, the newly appointed CEO of VAF, expresses her commitment to gender parity, affirming that it remains a priority for both herself and the organization. However, she warns that the strides made towards gender equality are not wholly sufficient. “The gender balance continues to fluctuate and remains precarious; we must stay alert and proactive in promoting this crucial issue within the sector,” she concludes.
