Photo and article published with SBIFF permission.
WHAT IS THE “FEMALE GAZE?”
Did you know that over 50% of the films showcased at the 2025 Santa Barbara International Film Festival (SBIFF) were directed or produced by women? On February 6th I attended a dynamic SBIFF panel, The Female Gaze: Women Storytellers, at Home Planet Productions’ screening room on State Street in Santa Barbara. It was inspiring to see the room nearly full, with a mix of festival attendees as well as industry professionals eager to explore the significance of the term “female gaze.”
The panel was moderated by Claudia Puig, SBIFF’s Director of Programming, and featured eight accomplished, knowledgeable, and accessible filmmakers and actors. The panelists and their films included:
- Nino Benashvili – Director, Where Time Stood Still
- Jacqueline Christy – Director, Magic Hour
- Jillian Corsi – Producer, Desert Angel
- Miriam Shor – Actor, Magic Hour
- Marah Strauch – Director, Space Cowboy
- Erica Tanamachi – Director, Home Court
- Severine Tibi – Producer, Desert Angel
- Ondi Timoner – Director, All God’s Children
The panelists were lively, humorous, and deeply thoughtful, offering candid insights into their journeys while working in what has long been a male-dominated field, from their early days in the industry to the self-confidence they have developed. Their tenaciousness was evident as they shared their experiences as women seeking success in the industry as editors, producers, directors, and actors. As a member of the local SBIFF Cinema Society and someone who writes about women’s voices, I was quite curious about their experiences and perspectives. The discussion provided valuable insights into the concept of the “female gaze,” the challenges of navigating persistent stereotypes, the types of stories they are drawn to, and how each of them found her voice as self-confident filmmakers or as actors.
THE FEMALE GAZE: In the opening discussion, the panelists affirmed that the female gaze is distinct from the male gaze, which tends to focus on and celebrate youth and beauty. According to the panelists, the female gaze highlights diverse people and backgrounds, often telling stories that focus on the power of kindness. Two key themes of their work emerged from their insights: (1) focus on inner beauty rather than the conventional kind, and (2) show how people demonstrate kindness to others, especially when facing adversity, challenges, or problems. Their films would transcended stereotypes of girls and women. Overall, many of the filmmakers were drawn to stories that bring women from different backgrounds and cultures together for some shared purpose. Even the films with men as the leads reflect a different sensibility, one in which the women in the stories are presented with significance.
INDUSTRY STEREOTYPES PERSIST: It’s easy to internalize the stereotypes that Hollywood has long embraced, shaping the way people think about women and their roles in the industry. These assumptions have historically led men in positions of power to discourage ambitious women from entering the industry. Women were often told—directly or indirectly—that to make it as a filmmaker, they’d have to change their personality and toughen up. And yet, each of these women found success by building collaborative teams where everyone’s input is respected. Some might find their approach “soft.”
The filmmakers talked about how leadership often requires making tough calls and overruling others’ opinions. But they often had to push against the expectation that women must always be nice, no matter the circumstances or the role. One producer recalled fighting to keep a minor yet crucial character in her documentary, even though the director didn’t agree. In this instance, she stood her ground, guided by her vision and principles. Over time, she’s learned an important lesson, adding: “It’s okay to not be likable all the time.”
The panelists advised women in film to “make your presence felt.” They had learned over time to avoid those situations in which they felt small or taken for granted. This often meant speaking up and asserting themselves to ensure they received proper credit for their contributions—especially when the credits rolled onscreen.
DOCUMENTARY FILMMAKING: While most documentaries take years to collect footage, documentaries offer more opportunities to produce a film. They require lower budgets and create avenues for women to take on the technical roles that have traditionally been male-dominated. Given a female gaze, these documentary filmmakers gravitated toward subjects who overcame challenges and sometimes were heroic. They clearly were interested in telling stories about women or with women in the leads that would otherwise not be told. They were especially interested in depicting unexpected friendships that can develop in real life and depicting groups becoming united communities to solve shared problems. On a practical note, we learned that it’s always easier to find funding for films with male protagonists.
FINDING YOUR VOICE: One young documentary filmmaker shared how technology allows her to blend in while capturing stories. With portable gear, video apps, and an iPhone, this young woman can be unnoticed in the midst of a crowd documenting political events or observing village life without drawing attention to herself. Being a young filmmaker has its challenges; for example, she shared an anecdote of filming a political protest and how men/DPs would offer a constant barrage of unsolicited but critical advice on how, where, and what she chose to shoot.
YOU’RE NOT READY: Another producer was once told by someone she deeply respected that her film wasn’t ready for Sundance—or any festival, for that matter. After three years of work, she submitted the film anyway, and it went on to win a Spirit Award. She learned that while everybody will have an opinion, the opinions can set you back.
When asked about (helpful or unhelpful) advice they were given, many learned that advice wasn’t always useful and could be painful to hear. It might be tempting to model oneself after a filmmaker whose work one admires, but ultimately, to succeed, the filmmakers learned to trust themselves and to stand by their projects.
Visibility is important for those starting out in the industry. Film festivals are an excellent way to exhibit one’s work, receive critical acclaim and build relationships with professionals in the industry. On the other hand, women filmmakers should be strategic and consider which festival is the right home for their project.
DEVELOPING SELF-CONFIDENCE: Several filmmakers stressed the importance of having allies – “people who watch your back”- and who are willing trust your expertise at those inevitable choice points. The editing becomes a creative act in making choices that convey a coherent theme and it’s typically collaborative or determined by the director.
One of the panelists who is an editor shared her unusual experience of working with a director who was honest about his lack of expertise in her area, and said he’d trust her judgement. These professionals who respect women’s experience and will defer to their judgement are the best kind to work with.
DISCOURAGING FEEDBACK: Several panelists shared the discouraging feedback they received when they told executives they wanted to produce or direct. They often-heard versions of “It can’t be done” or ‘You’re not ready.” To persevere, they sought out people who were encouraging and collaborative, then flipping the narrative from doubt to “Why not?”
One filmmaker recalled reaching a turning point at forty when she realized she needed to stop listening to negative people, make a pivot and begin to live her dream. She began attending NYU’s film school where she developed confidence in her abilities and her voice. Her film dramatizes that very experience.
WOMEN’S STORIES: The films often focused on unique women’s stories that we would otherwise never know about. In one film, we meet a gay rabbi who collaborated with a Black pastor to confront racism and sexism in their Brooklyn community. Another film follows a Cambodian immigrant who is a high school basketball prodigy, watching her overcomes obstacles to achieve greatness. Other films spotlight men who are reaching dramatic goals and doing surprising work.
COLLABORATION: The women filmmakers found that it was critical to work with people who were collaborative. On most sets, the conventional hierarchies had the director as the supreme authority but when a crew is composed entirely of women in every role—from grips to the director—a different dynamic naturally emerges. Once the team is in place, the filmmakers believe that feedback from all sources is invaluable. They aim to stay open to ideas and suggestions in an open-minded way.
One said that “The set can be chaos every day” and, as a result, there are times when the director needs the team to go the extra mile. I imagine it might mean staying late, redoing a take, and/or help to solve an unexpected problem/situation. Mutual respect begats flexibility.
MORAL DILEMMAS: I left the panel discussion thinking about the choices these women are making in terms of the stories they choose to tell through their unique points of view, and their determination to break the barriers to success that still exist. Whether or not the female gaze differs from what we’re typically used to seeing is something you can decide for yourself. Check out the films I’ve mentioned on your screening channels or local theaters, use them in teaching, or fund a screening yourself for your favorite association. You won’t be disappointed.