De Ensors Uproar: Has Sufficient Progress Been Made in Addressing Patriarchy?

The recent uproar surrounding the Flemish Film Awards has once again brought to light the ongoing conversation about gender equality and representation within the film industry. As accusations of patriarchal bias and discrimination surface, many are left questioning whether sufficient progress has been made in dismantling systemic barriers and fostering inclusivity.

The facts

The Flemish Film Awards, also known as the Ensors, are the annual prizes for the best achievements in Flemish cinema. They are usually celebrated as a showcase of the region’s talent and diversity, but this year they sparked a controversy that exposed the deep-rooted problems of patriarchy and sexism in the industry.

The uproar began when the nominations for the 2023 edition were announced in September. Out of the 15 categories, only one female director was nominated: Teodora Mihai for her debut feature “La Civil,” a thriller set in Mexico that won the Un Certain Regard ‘Prize of Courage’ at Cannes. The rest of the nominees were all male, including some who had been accused of sexual harassment or abuse in the past.

The lack of female representation and the inclusion of problematic figures triggered a wave of criticism and protest from various actors, filmmakers, and organisations. They denounced the Ensors as a “boys’ club” that perpetuated the domination and discrimination of women in the film sector. They also demanded more transparency and accountability from the Ensor Academy, the body that selects the nominees and the winners.

The arguments

The Ensor Academy defended its choices, claiming that they were based on artistic merit and not on gender or personal conduct. It also argued that the low number of female nominees reflected the reality of the Flemish film landscape, where women are still underrepresented and face many barriers to accessing funding, distribution, and recognition.

However, this argument did not convince the critics, who pointed out that many talented and deserving female directors were overlooked by the Ensors, such as Kaat Beels, Nathalie Teirlinck, Dorothée Van Den Berghe, and Patrice Toye. They also highlighted the achievements of Flemish female filmmakers in international festivals and markets, such as Lukas Dhont’s “Girl,” which won the Camera d’Or at Cannes in 2018, or Fien Troch’s “Home,” which won the Best Director award at Venice in 2016.

The controversy also sparked a broader debate about the state of Flemish cinema and the need for more diversity and inclusion, not only in terms of gender, but also of ethnicity, sexuality, and disability. Some initiatives have been launched to address these issues, such as the Diversity Charter, a voluntary code of conduct for film professionals to promote equal opportunities and representation, or the Women in Film and Television Belgium, a network of female film workers that aims to support and empower each other.

The Ensor Academy has also announced some changes for the next edition of the awards, such as increasing the number of female jurors, creating a new category for best debut film, and reviewing the eligibility criteria for the nominees. However, some critics have expressed skepticism about the effectiveness and sincerity of these measures, and have called for more radical and structural reforms.

The Flemish Film Awards uproar has revealed the persistence and pervasiveness of patriarchy and sexism in the Flemish film industry, but it has also generated momentum for change and awareness. The question remains: has sufficient progress been made in addressing these issues, or is there still a long way to go?