During the Toronto Film Festival, Universal Film & Television Journal’s editor Amir Ganjavie interviewed Leslie Ann Coles, the founder of Female Eye Film Festival. What follows is the summary of the interview.
Amir Ganjavie, UniversalCinema Magazine (UM): Could you please introduce yourself and provide insight into your role within your organization?
Leslie Ann Coles (LAC): Yes. I am Leslie Ann Coles, and I’m the founder and executive director of the Female Eye Film Festival (FeFF) here in Canada.
(UM): How would you define a good movie, and what criteria do you consider when selecting films for your festival?
(LAC): Well, the Female Eye is very specific in that films must be directed by a woman, or female-identifying. We look for compelling storytelling, a strong protagonist, and antagonist, differentiated characters, good dialogue, and that doesn’t mean a lot of exposition, a good plot, and originality. There has to be an authentic voice. Independent films usually beget original, authentic storytelling.
(UM): Can you elaborate on your festival’s selection process? Do you have a team of programmers, and what factors influence your film choices?
(LAC): We get international submissions. Movie Maker has voted us one of the top 50 independent film festivals for 11 consecutive years. So, now, we have a surge of films. We have about 24 to 30 programmers right now. Not all of them are senior programmers, but they know the FeFF brand. They rate them according to a rate sheet that we’ve evolved over the years. It takes into account a lot of what I just described in terms of production quality and what constitutes a great film i.e. sound, picture, plot, and character arcs. We evaluate the films, anything that is evaluated and rated 8 to 10, I review. Sometimes, if it’s a new programmer, I will re review their films even if there scored lower because film selection can be very subjective.
Filmmakers are disappointed when their films are rejected so I often tell filmmakers, that it’s not always about the quality of the film, it’s about the curatorial process. But it’s so subjective. If five people were to watch the same film, one may love the film, and another may have a different opinion. It’s very personal. It’s also very challenging to make the final selection because of the plethora of films. There are way more indie directors now since the advent of digital filmmaking, it’s a much more accessible medium. That said, there’s a lot more to it then pointing and shooting. One must be able to tell a story in a cinematic way.
(UM): I’ve noticed an increasing number of festivals showcasing films by female directors. How has this shift in the film industry impacted your festival?
(LAC): Okay. Well, that’s a really good question, but I’m going to sound somewhat contentious here. We fought long and hard for equity in the film industry. Funders opened the gateway for women. The door opened a quarter of the way. Bravo. And, then it closed. I’m not really sure how women who aren’t BIPOC or non gender conforming fit into the schema right now. I’m kind of confused. I think during my years with the Female Eye and as a filmmaker, we do see more independent film festivals dedicated to women. We are seeing more films presented at film festivals directed by women. But that’s due to advocacy and pubic pressure. You can’t show 46 films directed by men and four films directed by women at international independent film festivals now. Women are making films. Women and female-identifying content creators have always been culturally diverse at the Female Eye Film Festival.
But there’s always something… Something’s always swinging in terms of priority. What are the priority groups? Who are we giving space to? And, I have to say, right now, I don’t know whether women, or women over the age of 40 are still included in the priority group. They should be because they’ve been historically under funded, and underrepresented. I’m very confused. A lot of us are very confused.
(UM): Is it accurate to say that being a woman from a marginalized group might improve one’s chances of being accepted into festivals?
(LAC): Yeah, better chance. Yes.
(UM): But, in the festivals like Cannes most women in the main competition are French and from privileged backgrounds.
(LAC): Okay, that’s very interesting. So, I’m speaking more about the independent, the mid-sized international film festivals, I’m speaking very specifically about Canada in terms of funding initiatives, funding priorities and priority groups. I, personally, feel that everyone who hasn’t reached parity should be prioritized. We actually wouldn’t even be having this conversation if the playing field had been fair from the get go. Yeah, about Cannes, there’s always going to be nepotism, always. Programmers are going to select films of filmmakers who have a track record, and a fan base that audience recognizes. But most festivals are looking for fresh voices and perspectives. FeFF has given prominence to independent women directors. Many FeFF directors have had their shorts premiere at FeFF and they have returned with their debut feature. This is wonderful. In the early years of the festival we saw so many stellar debut filmmakers come and go. They couldn’t sustain a career so many left the biz. It’s the wild west. I don’t know. I don’t know what the level playing field anymore, nor what it will be in the near, or distant future. We’ll have to wait to see what the long-term impact is going to be.
(UM): When promoting gender diversity, do you consider the political stance of women filmmakers?
(LAC): Yes, yes. I feel as a festival, and even among our jury and among our programmers, there’s been arguments and debates over the years. We’ve had Jewish programmers who didn’t want a film that they perceived as sympathetic to a Palestinian cause or rights, a violation of rights. But I feel as an independent film festival or as a film festival of international, that we need to be nonpartisan. I feel that at the Female eye, we have to make a very strong commitment to leave our own politics out of the door. And we always have done it, and we show very controversial films. We show films that are a complete contradiction to another film. Especially in the documentary landscape, we see a lot of that.
(UM): If a female filmmaker creates a film opposing abortion, would you consider screening it, or are there certain boundaries you adhere to?
(LAC): That’s an interesting question. There was a film this year that was anti-abortion, and I found it very interesting. I can’t recall the title right now. But it’s a documentary that we’re considering for next year. This woman created these little wax fetus dolls. She went to a great extent as an anti-abortionist. Her belief is that there’s consciousness at the moment of conception. She surmised that we cannot deny life when there’s a heart beat, whether a one-week-old, two-week-old, three-week-old, or one-month-old. The take away was not so much about anti abortion as it was the denial of the life form. So, yeah, we would show that film, and we would absolutely show that film much to the outrage and chagrin of many. But this is a perfect example of where I feel festivals need to be non –partisan in order to shine a light on differing perspectives, and controversial subject matter.
(UM): Do you have any specific policies or stances regarding filmmakers from Russia?
(LAC): Last year we showed two short film from Russia s. One filmmaker, I had met in Armenia, whose name I won’t mention, because she’s being persecuted. I feel that artists should be exempt from being boycotted or forbidden to have the work presented at film festivals. Typically, artists are not right-wing. Artists tend to be more egalitarian, more liberal in their mindset. So, no, I don’t have a problem with that. We might not be open with a government-funded Russian feature film, but we will show independent films from Russia, Iran, Afghanistan and elsewhere.
(UM): What types of support do you offer to films accepted into your festival?
(LAC): All directors and screenwriters have a VIP All Access pass to everything. We negotiate fair rates with hotels and other businesses. When funded by the Canada Council for the Arts or Ontario Arts Council we pay screening fees to Canadian and Ontario filmmakers. Since the pandemic, we’ve been underfunded. But we pay, sometimes months after the festival when start self-generating revenue from submissions. Most festivals rely on entry fees now more than ever, unfortunately, because it’s costly.
(UM): Do you extend invitations to filmmakers to attend your event, and do you provide accommodations for them?
(LAC): We provide preferred rates to out of town filmmakers and their crew. We comp all honorary guests and gala directors.
(UM): Could you share information about the festival’s financial supporters or donors?
(LAC): We are largely supported by the local film and television industry. As mentioned, we’ve suffered a downturn in sponsorships in recent years. That said, we did get an operating grant from Ontario Arts Council in 2023 and will again in 2024. Experience Ontario came in this year as a significant sponsor. Ontario Creates support our industry initiatives, and Telefilm Canada support our Canadian programs.
(UM): I’ve noticed your festival uses TIFF’s venue. Could you provide more details about this arrangement?
(LAC): We just held our 21st edition in July at Hot Docs Cinema. We weren’t at TIFF this year due to renovations. We’re hoping we’ll be back with our award winning films 2023 showcase on International Women’s Day (March 2024), and hopefully we’ll be back in the coming years as a 3rd party festival TIFF support. TIFF select a handful of 3rd party, mid tier festivals, that are held at TIFF Bell Lightbox. It’s at their discretion.
(UM): Regarding your film selection process, I noticed that you primarily use Film Freeway. Do you also maintain connections with distributors and international sales agents?
(LAC): Yes, Film Freeway. Distributors and buyers/ programmers are industry guests. We facilitate the “Meet the Distributors Panel,” and “Meet the Decision Makers.” We also recommend films to sales agents, and buyers after the film festival. Through the script development program we have pitch meetings and readings whereby delegates meet with industry like Paramount, CBC, Shaftesbury, and other companies and buyers.
(UM): Do you source films from international sales agents as well?
(LAC): Oh, yeah. I go to film festivals. So, since 2014, I’ve been curating Canadian short film programs for international women directors film festivals in Armenia, Turkey, Chile, Portugal, Los Angeles, to name a few… This gives more exposure to the filmmakers we serve. I do select films from other film festivals, and this year was no exception. There were films from Portugal at Porto Femme that were co- presented at FeFF this year and in 2024, I am curating an Indigenous film program for Porto Femme. International collaborations are important. They ensure the sustainability of international women director’s film festivals.
(UM): Given the challenges in filmmaking in Toronto and Ontario, especially in terms of distribution, how does your festival address these issues? Do you have sections dedicated to Canadian or Ontario-based filmmakers, and what efforts are made to support women in Ontario’s film industry?
(LAC): We have always provided dedicated program to Toronto, Ontario and Canadian filmmakers. With the support of Ontario Creates, we help drive business to Ontario with the script Development program and bolster films made in Ontario. We always open, or close the festival with a Canadian feature.
(UM): What do you believe are the primary issues or challenges in Canadian’s industry?
(LAC): Infrastructure. We’re not America, we don’t have multiple networks nor a studio system. The streamers have usurped a lot of the power of traditional distribution outlets once had. The streamers will pay for a film to get made and they’ll own the rights to that film. Back in the day, sales agents would acquire independent films and sell to distributors who sell to territories. Distributors are struggling now, many no longer pay minimum guarantees. I’ll be really curious to see what it’s like at the AFI this year.
(UM): What role do celebrities or stars play in the success of your festival? Do you actively invite them to participate?
(LAC): Yeah, we do. Sarah Gadon was with us two years ago. She came out for the Canadian Premiere of “American Woman.” A real highlight for me was when Karen Black joined us… She’s gone, sadly. Actors big and small join us annually including Elisabeth Moss, who garnered an Honorary Best Actress Award in 2007, and in 2022, she received the Honorary Maverick Award.
(UM): Returning to the topic of marketing, how do you adapt to the changing landscape of social media, with platforms like TikTok gaining popularity among the younger generation?
(LAC): We’re not on TikTok yet. I do watch it from time to time. Consumers binge watch movies and series from homes, on their devices. That said, I don’t think the theatrical movie experience will ever go away. There’s something magical about the congregate experience of being among other humans in a darkened cinema… The growth of independent film festivals world wide is a testament to this.
(UM): Which festivals do you consider crucial to attend, especially for the North American market?
(LAC): I consider TIFF, Whistler, St. John’s Women’s Int. Film Festival, Montreal, and Vancouver important Canadian festivals. In America, SWSW, Sundance, Tribeca, AFI and several other L.A. based fests are significant. Foreign festivals to attend, Cannes, Berlin, Venice…there are many. If you’re a women, or female-identifying, there are so many really great international women directors film festivals, including the Female Eye Film Festival.
(UM): Festival directors have mentioned difficulties in negotiating with streaming platforms. Can you share your experiences in this regard?
(LAC): We negotiate with distributors all the time. We request to premiere a feature especially when it’s going theatrical in Canada around the time of the event. We’ve successfully launched many theatrical runs. We try our best to get ahead of this but we’ve lost many films over the years due to distributor interference.
(UM): In the post-COVID era, have there been any changes to your festival, such as the introduction of an online component?
(LAC): We pivoted online in 2021 but the show went on. The day following our closing feature, March 2020, the boarders closed and we were in lock-down. Literally, the next day! Other than 202, as an online festival, we have since continued to host in-person events.
(UM): As we conclude our conversation, is there anything you feel our audience would find interesting to know that we haven’t covered yet?
(LAC): I hope that people will support independent films, whether you’re a funder, a distributor, or an audience member. Independent artists reflect humanity. We’re at a pivotal time in history where we need independent voices. And, we must deter censorship at all costs.
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