As part of the Annual Congress of the Federation of Societies of Latin American Audiovisual Authors (FESAAL), held on November 5 in Mexico City, the discussion on gender equity took center stage in a dialogue that brought together female creators, screenwriters, and representatives from the audiovisual sector across the continent.
Beyond speeches, this space highlighted data on inequality, proposed concrete steps for change, and fostered collective reflection on the necessary actions to achieve equity in the industry.
Director Carmen Guarini, Vice President of DAC - Argentine Film Directors - Argentina, emphasized the efforts of FESAAL and the Confederación Internacional de Autores Audiovisuales (AVACI) to ensure gender equity in decision-making roles. "There is parity in the executive councils of FESAAL and AVACI. This was achieved after much work and proposals that emerged from meetings like the one in Punta del Este," she noted.
Studies on the Gender Gap
The figures shared during the discussion reflected the gender disparities in Latin American audiovisuals. Audiovisual screenwriter and General Secretary of the Society of Authors’ Rights Management in Brazil (GEDAR - Brazil), Sylvia Palma, revealed that "only 20% of audiovisual productions in the region are created by women, and within that percentage, just 2% are created by Black women. Indigenous women are not even accounted for in official statistics." Meanwhile, director and screenwriter Alexandra Cardona Restrepo, President of REDES - Colombian Network of Audiovisual Writers - Colombia), cited data from WIPO (World Intellectual Property Organization) and the IMF to emphasize the economic importance of closing the gender gap.
According to a WIPO study on women's participation in creative industries, particularly in Latin America, titled A Question of Economic Intelligence, "reducing these inequalities could increase the GDP of the most unequal countries by 35%. This analysis directly links female representation in leadership roles to improved financial performance, underscoring the tangible impact of equity on the creative industry," stated Cardona Restrepo.
Proposals to Achieve Gender Equity
In response to these disparities, several initiatives emerged aimed at both representation and the sustainability of female audiovisual authors. Establishing sustained dialogue forums, including a regional space for female directors and screenwriters, was a central proposal. According to Sylvia Palma, "these forums would make it possible to highlight needs and push for legal frameworks that protect author’s rights from a gender perspective."
Inés de Oliveira Cézar, Deputy General Secretary of DAC, suggested encouraging female-led productions through specific incentives: "In some European countries, projects with teams composed of women receive greater funding. Argentina's INCAA (National Institute of Cinema and Audiovisual Arts) attempted to implement this, but the funds vanished. We need to revive that idea and showcase our successful productions."
During her presentation, Carmen Guarini highlighted the implementation of the DAC Gender Award as an example of visibility and support, while other participants proposed introducing similar awards within FESAAL and AVACI. "This is a tangible way to make ourselves known and promote our productions. Moreover, we need platforms to collect and disseminate information about the women working in audiovisuals," noted Inés de Oliveira Cézar.
Initiatives for Visibility and Support
Highlighting women’s achievements in the audiovisual sector was another recurring theme. Screenwriter and director Camila Loboguerrero, Vice President of DASC - Audiovisual Directors Society of Colombia - Colombia, shared her experience developing "a film club to spotlight works directed by women, many of whom don’t even receive credit for their productions."
Meanwhile, Gloria López, General Director of SOGEM - General Society of Writers of Mexico - Mexico, noted the significant presence of women in Mexican television: "80% of television writers are women, and they are among the highest earners. This shows that we can advance towards genuine respect for female authors."
The financial impact of including more women in audiovisuals was evident not only in macroeconomic data but also in concrete examples. Alexandra Cardona Restrepo emphasized that "creative sectors with greater female participation tend to be more competitive and profitable. It’s not just a matter of justice; it’s also an economic imperative. Ignoring female talent is a waste that harms the entire industry," she affirmed.
From Mexico, Gloria López's experience with television writers highlighted an interesting contrast. While women dominate television writing, their influence in film and other audiovisual fields remains limited. This case demonstrates that, with the right agreements, progress in both equity and profitability is achievable.
The discussion concluded with a collective call to action. Screenwriter Daniella Castagno, President of ATN - Society of Audiovisual Directors, Screenwriters, and Playwrights - Chile and Vice President of AVACI, urged that "gender discussions not be relegated to improvised or marginal spaces in future congresses. Similarly, Alexandra Cardona Restrepo highlighted "the importance of working alongside male colleagues who support the cause, transforming FESAAL and AVACI into platforms that promote equity." "I have found wonderful male colleagues in this fight. Through FESAAL and AVACI, we can become advocates for the benefits of active female participation in the creative industry," she stated.
The voices of female audiovisual authors heard at the 2024 FESAAL Congress serve as a reminder that change is underway but requires political will, resources, and above all, the collective determination of its protagonists.
Comments