1、Female professionals in European film production2024 editionGilles FontaineOctober 2024A publication of the European Audiovisual ObservatoryKey findings3Scope and methodology.12Directors18Screenwriters.27Producers.35Cinematographers.43Composers.51Editors.59All professionals.67Table of contentsKEY FI

2、NDINGSResearch questionsKey findingsBetween 2019 and 2023,women professionals share in the production of European films was 24%.The variousindicators used by the Observatory to measure gender inequality in the production of films outline threecumulative factors for most of the positions assessed in

3、this report:A low share among the active population of professionals.Less assignments for female active professionals.Work more often shared with other professionals(e.g.female writers cowriting more often than their malecounterparts).Gender inequality obviously varies between positions.The share of

4、 women professionals is higher for producers(31%),editors(31%)and writers(29%),close to the average for directors(25%)and significantly lower forcinematographers(12%)and composers(10%).Female professionals seem to be more represented in the positions where several professionals work together,asit is

5、 the case for producers and writers.Conversely,when the position is generally held by only one professional(e.g.directors,composers,or cinematographers),women tend to be more under-represented.Research questionsKey findingsHowever,even for positions with several professionals in charge of writing or

6、 producing a film,the teams are byfar led by male professionals.For example,in 2022,while female writers accounted for 29%of the writing offilms,female-driven teams accounted for only 21%of all writing teams(vs.66%for male-driven teams).Be it in terms of active population or of assignments,the share