Shahrbanoo Sadat and Jelena Maksimović Hit Back at Discrimination in Film Funding at Tokyo Festival Talk

At the recent Tokyo International Film Festival, filmmakers Shahrbanoo Sadat from Afghanistan and Jelena Maksimović of Serbia highlighted the persistent financial and institutional barriers faced by women directors in the global film industry. Their discussion took place during the festival's Tokyo Talk series, which focused on the evolving landscape of women’s cinema.

Sadat, whose latest film premiered at the Berlinale and was featured at Tokyo, emphasized that the challenges for women filmmakers begin long before festivals consider their work. She pointed to the development stages where funding decisions often exclude women, creating an enduring imbalance. Sadat, also a Venice Film Festival jury member, drew attention to the limited number of female-directed films selected for major competitions, underscoring systemic bias within funding bodies and development committees.

Maksimović, whose film screened in Venice’s Orizzonti section, shared insights from the Serbian film scene, describing how political shifts have directly affected film funding. She recounted that the Serbian Film Center, once a reliable resource, lost government support after its association with student-led anti-corruption protests, which culminated in a significant political turnover following the 2024 parliamentary elections. Despite the recent political changes raising hopes for reform, Maksimović pointed out the long road ahead to rebuild funding structures that fairly support all filmmakers.

Both directors noted that conforming to existing norms often becomes a prerequisite for accessing resources, a burden disproportionately borne by women. Maksimović recalled that even in the relatively progressive context of former Yugoslavia, male directors dominated, and the transition to broader inclusivity has been slow and uneven. She also stressed that while a strong network among independent filmmakers exists, it operates in a constrained “bubble” without access to substantial funding, limiting opportunities for wider recognition and production scale.

Sadat elaborated on the particularly restrictive environment for women in Afghanistan, where cultural gatekeepers—often older male figures—control cinematic opportunities. For women, participation in the local film industry frequently entails compromising creative autonomy or relocating to external systems, such as European cinema networks, to continue their work. However, Sadat acknowledged that even European film funding is not free from gender disparities, with female filmmakers subjected to higher standards and unequal treatment.

The conversation also addressed the broader issue of quality evaluation at major festivals. Sadat expressed skepticism about claims that women’s films are excluded due to insufficient quality, noting the contrasting leniency often extended to male directors. This disparity was highlighted in the context of Venice’s 2024 competition, where only one female-directed film was selected, yet it went on to win the festival’s highest honor, challenging assumptions about merit and selection biases.

Maksimović underscored the importance of structural reforms, urging for changes not only in funding allocations but also in the composition and perspective of decision-making committees. She cautioned against tokenistic approaches that treat women’s films as mere symbols rather than genuine artistic contributions, advocating for authentic inclusion rather than box-ticking exercises.

Reflecting on the future, Sadat framed change as a gradual process, particularly for filmmakers emerging from conflict zones where survival takes precedence over long-term planning. She suggested that incremental progress, rooted in daily efforts and small victories, is essential for transforming entrenched systems and opening new pathways for women directors worldwide.

Together, these perspectives from the Tokyo International Film Festival panel reveal the multifaceted challenges women filmmakers encounter—from political upheavals affecting national funding agencies to cultural gatekeeping and institutional biases within international film circuits. Their candid accounts provide a vital lens on the ongoing struggle for gender equity in global cinema and the determination of women artists to reshape the industry from within.