Many of this past week’s highlights are not necessarily exclusively doc related, but they are worth your attention none-the-less. In The Globe and Mail, Barry Hertz reported that “On Wednesday, Oscar-winning actress Brie Larson announced at the Women in Film Los Angeles Crystal + Lucy Awards that both TIFF and the Sundance Film Festival in Utah will allocate 20 per cent of their respective press credentials to underrepresented writers.” IndieWire’s Eric Kohn notes, “The announcement came just days after a report by the USC Annenberg Inclusion Initiative revealed that women wrote only 22.2 percent of 19,559 reviews of the 100 top-grossing films posted to Rotten Tomatoes.” Jenna Marotta further detailed the release, “The report found that 63.9 percent of those reviews were written by white men, versus white women (18.1 percent), underrepresented men (13.8 percent), and underrepresented women (4.1 percent).” Meanwhile at Mel Magazine, Jessica Ritchey took on this issue from a different angle with her incisive piece, “You’re Doing Women No Favors With Your Mocking ‘Ugh, Only Straight White Men Like This’ Takes.”
Maybe the most read pieces of the week came from Eric Allen Hatch, former programmer of the Maryland Film Festival, in which drops a weighty manifesto via Filmmaker Magazine on the future of arthouse programming a-la Steven Soderbergh’s 2013 “State of Cinema” address. “MOONLIGHT, GET OUT, and I AM NOT YOUR NEGRO were not ‘surprise hits,’ they were the triumphant first blast of what the next 25 years of moviegoing will look like. As the successes of these and other films cohere in the marketplace, tone-deaf gatekeepers’ stale assumptions of what art house films and audiences look like will no longer fly—not artistically, and not financially. The reactionary people who, over the past two decades, have tripped up visionary cinema’s path to the big screen with their own lack of vision are on their way out.”