FEMMES DE CINEMAQUALITATIVE STUDYON THE PLACE
OF FEMALE DIRECTORSIN EUROPESYNTHESIS - 2023

IN COLLABORATION WITH:

WITH THE SUPPORT OF THE LAB FOUNDING BENEFACTOR:

Soutenu par
IN PARTNERSHIP WITH:

I. INTRODUCTION TO THE LAB STUDY
II. INFOGRAPHY
III. HIGHLIGHTS
IV. SUMMARY TABLES

The complete study is available on www.femmesdecinema.org

ABOUT THE LAB FEMMES DE CINÉMAThe Lab Femmes de Cinéma is a unique place for reflection and elaboration on parity and mixity inthe audiovisual industry and in European cinema.
Created in 2017, the Lab Femmes de Cinéma is a place for meetings and exchanges between
people representing the entire cinema chain and mobilized by the challenge represented by parityand diversity in the European cinematographic landscape. Its ambition is to generate ideas, propose
actions and stimulate experimentation, in order to make a change.
The Lab Femmes de Cinéma annually updates its study initiated by Les Arcs Film Festival on theplace of women directors in Europe, and organizes workshops, masterclasses and podcasts.
The Fondation Sisley d'Ornano is the founding sponsor of Lab Femmes de Cinéma,
STUDIOCANAL, the French Ministry of Culture, the CNC, TITRA FILM, Audiens and the Collectif
50/50 are its partners.

Qualitative study on the place of female directors in Europe - The Lab Femmes de Cinéma

1

I. INTRODUCTION TO THE LAB STUDYThis study was made by the Lab Femmes de Cinéma. This is its seventh and this is its eighth
update.
Let us recall ﬁrst and foremost the global context in which this study was realised: today, on
average in Europe, only one out of four directors are women. Diﬀerent studies show thatwomen in cinema are still, on average, underpaid, given fewer grants, and are less programmed
than their male counterparts, and female characters are still often stereotyped. Cinema plays
an important role in shaping our collective imagination: it participates in the construction ofsociety at the same time it reﬂects it.
If women are underrepresented and discriminated against in cinema, it is in part because of thegender stereotypes and structural exclusion mechanisms that are still in place. In order toovercome these two barriers, we know that there is in-depth work that has to be done. We
must deconstruct the stereotypes and shine more light on women ﬁlmmakers. We must also
put in place more proactive structural movements. This study aims to detail and present thepolicies and measures adopted to improve on the persisting inequalities, and to promote theplace of women and marginalised people in cinema in every European country.
It is within this context that since 2016 the association Révélations Culturelles realises anannual study on the place of female directors within Europeen cinema. Since 2020, we rely on
the statistics given by our partner European Audiovisual Observatory (EAO). We therefore
focus on purely data-driven work.
We are also in collaboration with the European Film Agency Directors Association (EFAD),
the association that brings together national ﬁlm and audiovisual agencies from European
countries. The EFAD1 put us in touch with the national cinema agencies of its member states
and who re-read this study before sharing it with its members. The French Ministry of Culture
has also been supporting us since 2022, and the French CNC since 2023.

EFAD membership covers the European Union countries as well as Iceland, Norway, the Republic of North
Macedonia, Montenegro, Serbia, Switzerland, the United Kingdom, Ukraine and Bosnia and Herzegovina.
1

Qualitative study on the place of female directors in Europe - The Lab Femmes de Cinéma

2This study is an example of European collaboration on subjects that need regularmonitoring. Indeed, it is crucial that we examine, every year, countries’ numbers and policies
to measure whether change does indeed take place in the sector. Naturally, we must consider
the double temporality between:●●

Our qualitative study which examines measures that will aﬀect the statistics in the
coming years;
The quantitative study by the EAO which pertains to a period that has ended and whose
statistics are the result of measures previously put in place.

With this study, we wish to contribute to the movement that aims to raise awareness for theplace of women in cinematographic creation sectors. By annually contacting diﬀerent European
ﬁlm institutes we are also encouraging them to evaluate in concrete terms the measuresthey put in place to promote equality while adopting a reﬂexive look onto their own policies,
by comparing them to those that already exist in Europe.
This study pertains to about thirty European countries. To each of these countries, we sent a
certain number of questions to diﬀerent ﬁlm institutes (see methodological point). The
information presented in this study is formed either from their answers or, for the countries who
declined our questions, from a summary of the data we collected from their institutional
websites.
We must note that the measures adopted by countries are not always comparable due to thecountries’ economic, political, social, and cultural diﬀerences. Furthermore, cinema does notnecessarily have the same importance in each of the countries studied.
By presenting a synthesis of all the policies aimed at inclusion in Europe, we are able
every year, thanks to this study, to catalog the measures that are experimented withwhich aim to try and increase opportunities and inclusion in cinema. It is therefore as
much an annual assessment as it is a collection of good practices.
Our goal is for this study to be seen by as many people as possible, so do not hesitate to shareit and use its data. We simply request that you cite your source (Study of the Lab Femmes deCinéma) and that you notify us at contact@femmesdecinema.org.

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3

KEY FIGURES OF THE PLACE OF WOMEN DIRECTORIN EUROPEAN CINEMADATA PROVIDED BY THE LABDATA PROVIDED BY THE EAOREMINDER OF THE FIGURES OF THE
2019 STUDY PUBLISHED BY THE LAB

THE PROPORTION OF WOMEN FILMAKERS
DIRECTING FEATURE FILM IN EUROPE
2018-2022 - Figures provided by the EAO

50%

50%

30%
25%

50% OF GRADUATE STUDENTS
FROM FILM SCHOOL ARE WOMEN

20%
15%

30 %

10%

19 %

5%

19 %

34,36%REGISTERED SHORT FILMS
AVERAGE MADE ON 18 COUNTRIESDOCUMENTARY

23,92%

1 OR 2FEATURE FILM
ST

ND

15,41%

3RD MOVIE AND
MORE

40%

FICTIONANIMATION

Women directors are proportionally more present in documentary films,
where the average film budget is much lower than the average budget foranimated or fiction films. Beyond the question of the share of women
directors in Europe, there is also the question of the low share of total
budgets allocated to them.

30%

SHARE OF FILMS BY WOMEN DIRECTOR
2018-2022 - Figures provided by the EAO

20%

DIRECTED BY WOMEN

10%

35%
30%

1 IN 3 PEOPLE
IS A WOMAN

1 IN 4 PEOPLE
IS A WOMAN

1 IN 6 PEOPLE
IS A WOMAN

25%
20%

Women, who make up 50% of film school students, are gradually being
driven out of the industry. They face a number of discriminatory barriers
that make it harder for them to establish themselves in the industry overthe long term.

COMPARAISON OF THE RESULTS
OF THE LAB STUDY 2020-2023
NUMBER OF COUNTRIES THAT HAVE :Implemented incentive policies

Answered our study
14
32
32
36

Achieved or planned at least one
production of gendered data
14
24
27
31

5
11
15
15

+200%

An objective of global researchof diversity
7
15
15
15

+120%
2021

2022
2020

26 %

10%

23 % 20 %15 %5%
ICELAND
65*

AUSTRIA149*

FRANCE
1 512*EUROPEAN UNITEDAVERAGE KINGDOM
9 617*671*

ITALY
1 026**number of feature films produced between 2018 and 2023

The countries with the best statistics are those that adopted the mostambitious and multidisciplinary policies to promote greater equality incinema some years ago, but the best statistics are still a long way fromparity.

+114%

EVOLUTION OF THE SHARE OF FILMS
BY WOMEN DIRECTORS*
2013-2022 - Figures provided by the EAO* including co-productions including at least one woman director
32 %
28 %
24 %
20 %

2020

34 %

+75%

Implemented measures to fightgender-based violence+121%

Implemented quotas or soft quotas
5
10
10
11

12
17
20
21

+157%

37 %

15%

2023

The significant increase in the number of countries responding to ourrequests means that the themes of parity and gender diversity are:• addressed politically each year by a greater number of countries,• addressed in greater depth by those who had begun working on thesesubjects earlier.

AVERAGE2013-2017

AVERAGE2018-2022

23,3%

20,6%

16 %
2013 2014 2015 2016 2017 2018 2019 2020 2021 2022
19,9% 20,1% 19,2% 21,2% 22% 21,1% 24% 24,1% 25,4% 22,4%

Between 2013 and 2022, the European average for the share of films byfemale directors rose from 19.9% to 22.4%: if statistics continue to
evolve at this rate, we'll have to wait until... 2080 to reach parity.

III. HIGHLIGHTS
Growing participation in an increasingly recognised study
This year, we contacted 37 countries2, 36 of which responded to our questions. This is anincreasing response rate, in line with recent years (32 responses in 2022 and 2021, 14 in 2020).
In 2023, only Albania3 did not respond to our requests. Responding to our requests enables thevarious institutes to take a reﬂective look at their own measures to promote parity. The majorityof the Centres contacted recognise the importance of this study (70% say it is "very useful" or"extremely useful").
Countries committed to parity and taking action
In 2023, the vast majority of European countries are committed, at various levels, to parity inthe ﬁlm industry: only 5 countries have not introduced or do not plan to introduce measures topromote parity in their industry (Bosnia and Herzegovina, Bulgaria, Serbia, Slovakia andUkraine4).
A total of 35 countries have introduced or plan to introduce measures to promote parity.
Among them are those that have been involved in these issues for a long time, continuing anddeepening their work over the long term (like Austria, Denmark, Iceland, Norway, Sweden, etc.)
and those that have joined the movement more recently. No fewer than 10 countries havelaunched, or plan to launch in the next few years, their ﬁrst collection of gendered data.
Collecting data is one of the ﬁrst steps towards quantifying inequalities in the sector, andtherefore a form of awareness-raising that generally leads to declarations of intent and theimplementation of measures to promote gender diversity in the industry.
Several highlights emerge from our 2023 study● Some of the major trends are a continuation of our 2022 study:○ integrating parity into an overall search for gender diversity ;○ combating sexist and sexual violence;● Some of these trends are of interest to a growing number of institutes:○ supporting parenthood ;○ Raising awareness of the need for support, right from the application stage;● Finally, we note the rise of new trends:○ developing support for women ﬁlmmakers throughout their careers;○ working on representation and combating unconscious bias, particularly among
members of the institutes' selection committees.
2

This represents a total of 38 national funds contacted, of which 37 responded.
The Albanian National Center of Cinematography is not a member of EFAD.
4
Ukraine is an exception here, given its current situation. Our contact informs us that the institute wishes to workon these issues of inclusion as soon as the political context allows it.
3

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5Before presenting the highlights of this 2023 study in detail, one fact remains fairly constantfrom year to year: the reluctance of countries to implement quotas. Indeed, 11 institutes
have introduced moderate quotas, i.e. favouring ﬁlms directed by women for ﬁlms of equalquality, 3 countries have implemented hybrid quotas (Austria, Norway and the UK), but only
Spain has introduced quotas for ﬁlm ﬁnancing.
Focus on Spain: since 2020, a share of the total grants budget must be given to projects
by female directors. These quotas diﬀer according to the type of funding granted by theInstituto de la Cinematografía y de las Artes Audiovisuales. Since 2022:● 35% of the total "general aid" budget is reserved for projects by women directors;● 40% of the total "selective aid" budget is allocated to projects by women directors.
This particularly ambitious and unprecedented measure should have a signiﬁcant impact on
the average share of ﬁlms by women directors in Spain over the coming years. For more
information, see the section of the study dedicated to Spain.
INTEGRATING PARITY INTO A GLOBAL SEARCH FOR DIVERSITY●At an international level, 2022 marked the launch of the call for applications for the"New Dawn" funding project, an initiative that will be renewed in 2023. This is a
pan-European fund which groups together 10 national public funds, including 9
European ones, with the aim of promoting a more inclusive cinematographic landscapeto enable a greater diversity of perspectives and stories to be told;

Focus on New Dawn : announced in 2021 and launched in May 2022 at the Cannes Film
Festival, several funds have set up a joint initiative, called New Dawn5, to promote a more
inclusive ﬁlm landscape, thereby enabling greater diversity in the perspectives and stories
told. Launched at the initiative of the Netherlands and Sweden, the Netherlands Film Fundcoordinates this fund.
This pan-European fund supports feature-length ﬁction and documentary projects that havealready received ﬁnancing. The fund has a budget of 1,000,000 euros. Financial support for
selected documentaries is 100,000 euros, and 200,000 euros for ﬁction projects selected by

5

The countries whose public funds are participating in this initiative are: Belgium (Centre du Cinéma et del'Audiovisuel de Bruxelles-Wallonie and Vlaams Audiovisueel Fonds), Canada (Telefilm Canada), Finland (Finnish
Film Foundation), Ireland (Screen Ireland), Luxembourg (Film Fund Luxembourg), Norway (Norwegian Film
Institute), the Netherlands (Netherlands Film Fund), Portugal (Portuguese Film and Audiovisual Institute) and
Sweden (Swedish Film Institute). For full details visit the New Dawn website. https://newdawn.film/
Qualitative study on the place of female directors in Europe - The Lab Femmes de Cinéma

6the fund. Throughout the year, teams working on selected projects will also beneﬁt fromevents organised by the fund, designed to promote international networking. The fundincludes 9 European funds, as well as Canada, which will join the initiative in 2022.
●

At a national level, new action plans mark a strong political commitment to more global
inclusion. 15 countries now have a target for gender diversity. This is notably the case inGermany (new funding law including a diversity aspect - 2022), France (obtaining the"Equality and Diversity" label - 2022), Walloon Belgium (introduction of a "diversity
sheet" for grant applicants - 2022; widening of soft quotas, with the Centre no longer
giving preference only to ﬁlms by female directors, but "the dossier bringing morediversity" - 2023). In addition, Flemish Belgium, Finland, Norway, and Switzerland haveannounced that they are working on introducing a gender diversity criterion in their next
action plans.

Focus on the UK: in 2016, the British Film Institute adopted the Diversity Standards. They
are regularly updated: in 2023, the Diversity Standards were reworked by experts to include
more inclusive language, and a ﬁfth standard was added. Films seeking ﬁnancial support
from Lottery Funding, a fund attached to the BFI, must now comply with diversity criteria(relating to gender, race, age, and disability) both in front of and behind the camera. Thismeans that ﬁlmmakers' projects must demonstrate a commitment to inclusion and meet atleast two of the ﬁve diversity standards to be supported.
COMBATING GENDER-BASED AND SEXUAL VIOLENCE
6 years after the start of the #MeToo movement launched in the ﬁlm world, the Institutes arecontinuing and deepening their measures to combat sexist and sexual violence (SGBV) in
particular and all types of violence in general. 16 countries are committed to this theme in
2023, compared with 12 countries in 2021.
In recent years, the Centres have taken a particular interest in violence committed on ﬁlm sets
and have encouraged ﬁlm crews to call on the services of intimacy coordinators when shooting
intimate scenes. This is the case in Finland (with the publication of guidelines - 2021), Germany(conferences - 2023), the United Kingdom (funding for the training of an access coordinator toensure the well-being of everyone on ﬁlm - 2023), Luxembourg (workshops to identify andcombat harassment and violence on ﬁlm sets - 2024) and Cyprus (funding for workshops on
ﬁlming intimate scenes - 2024). This profession, which originated in the world of series, isincreasingly being promoted in the ﬁlm industry. To date, however, there is no obligation
anywhere to call on the services of an intimacy coordinator.

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Focus on France: the CNC is one of the institutes doing the most to combat sexist andsexual violence, notably through two particularly ambitious measures:● Conditional aids: since the beginning of 2021, the CNC has made its aid conditionalon compliance by the companies (production, distribution, sales...) that apply for it,with speciﬁc obligations in terms of preventing and detecting sexual harassment. This
includes compulsory training and certiﬁcation of the company's legal manager. Thisconditionality is applied year after year to a growing number of professionals: since
January 2023, cinema operators have also been aﬀected;● The introduction of an insurance clause in all ﬁlming insurance contracts covering therisk of "harassment". This is a ﬂagship action in the ﬁght against SGBV, covering thecost of suspending ﬁlming following a complaint of harassment, assault or
gender-based violence for 5 days, up to a maximum of 500,000 euros. The aim is toenable victims to speak out and report acts of violence without having to worry about
wasting production time and money (from the end of 2021).
SUPPORTING PARENTHOOD
A number of centres are beginning to introduce incentive policies to support people withchildren working in ﬁlm. These policies are not explicitly linked to gender, but in fact studies
show that having children puts women at a greater disadvantage in the world of work: helping
parents actually leads to greater equality in creative conditions between women and men.
6 countries are now committed to this theme, and the measures put in place take various
forms: While some countries began adopting measures along these lines several years ago(Germany since 2016 and Switzerland since 2019), the movement gathered pace in 2022 with
Austria, Croatia and Slovenia also introducing this type of incentive. This year, Montenegro has
informed us that it is working on including childcare costs in the budgets eligible for support.
Focus on Austria: since 2022, the Austrian Film Institute has been working in two ways tosupport young parents working in the industry. The Centre :● Encourages the introduction of "job splitting" aimed at improving working conditions
for people with children. This enables several people to share tasks, or even a job,
and work closely together to reduce working hours for each individual;● Childcare costs are now eligible for funding from the Institute.
ASKING QUESTIONS ABOUT PARITY IN FUNDING APPLICATIONS
A number of Centres are now using funding application dossiers as a tool to promote parityand gender diversity in industry. This is the case in 13 countries, including 6 since 2022/2023.
The application packs are used by some institutes to:

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8

●

●

Collect gendered data in a simple and eﬀective way, as has recently been the case in
Norway (funding applicants can ﬁll in the application form). This has recently been thecase in Norway (funding applicants have the option of completing personal data on
gender, racial identity, age, sexual orientation and social class - 2022); in Sweden(national insurance numbers are requested from people in key positions such as
director, scriptwriter and producer - 2023); in France (funding is conditional on thesubmission of data on the number of men and women in key positions in the productionof the work - 2023) and soon in Croatia (compulsory form to be completed byproducers of feature ﬁlms receiving funding - 2023). producers of feature ﬁlms ﬁnancedby the Centre in order to receive the third installment: producers must list the various
members of the ﬁlm crew, indicating the gender of each person in the various
positions);
Raising awareness of these issues among funding applicants through compulsory or
optional questions on funding application forms, as is the case in Belgium (compulsory
diversity sheet inviting project promoters to reﬂect on diversity in front of and behind thecamera - 2022; possibility of providing the name of a contact person in the event ofharassment - 2023) and soon in Cyprus (optional question on the way in which the
production intends to promote gender equality and co-education in front of and behindthe camera).

Focus on Denmark: since 2020, with the aim of raising awareness and encouraging ﬁlm
professionals, the Danish Film Institute has created a new document to be completed by all
producers applying for support. Producers are now required to provide information on:●●●

The gender composition of the technical, creative and casting teams;
The salary distribution of the teams and the percentage pay gap;
The number of dialogues for each member of the cast, with regard to gender.

DEVELOPING CAREER SUPPORT FOR WOMEN FILMMAKERS
Among the incentive policies designed to help, support, and encourage women ﬁlmmakers, inrecent years we have noticed that the institutes are placing particular emphasis on support:
mentoring, special training for taking up a position of high responsibility, leadership training,
networking events, etc. To help women combat their imposter syndrome, encourage
networking, and help them climb the career ladder more quickly, 10 countries, including 7 from2022 - 2023, are introducing this type of support measure.
In recent years, this has been the case in Germany (mentoring programmes for womenﬁlmmakers - 2022); Spain (additional grants for a mentoring programme - 2022); Norway(funding for courses and training for young people from minority backgrounds to encourage

Qualitative study on the place of female directors in Europe - The Lab Femmes de Cinéma

9and help them to apply for ﬁlm courses - 2022); the United Kingdom (creation of "Celebrating
Black Women in International Film," a programme of events aimed at supporting black
ﬁlmmakers to help them develop new links and partnerships - 2023); Belgium (training andempowerment programme open to producers and directors as well as non-binary people 2023); Austria (creation of the Tandem training programme - 2023).
Focus on Belgium: in 2023, the Vlaams Audiovisueel Fonds (VAF) created a training andempowerment programme, Leiderschap en Eigenheid in Film. The programme is open to
women producers, directors, and non-binary people. It consists of a series of modules on
topics such as inclusive leadership, communication skills, and networking. The aim is tosupport and accelerate the careers of people subject to discrimination in the sector by giving
them access to practical tools. VAF also oﬀers childcare services for participants in the
programme.
WORKING ON UNCONSCIOUS BIAS AND REPRESENTATION
Finally, one of the trends that seems to stand out this year is the work being done by thecentres to deconstruct unconscious biases (in front of and behind the camera) and to raiseawareness of the importance of representation (in front of the camera). Narratives and thestories they tell shape our collective imagination: to combat stereotypes - which are often
unconscious - several centres have decided to train decision-makers and selection committee
members in the importance of the images conveyed by the ﬁlms they support. 10 countries are
implementing this type of initiative, including 3 since 2023 and 1 in progress.
Among the countries involved in this approach are Belgium (training on unconscious
stereotypes for its employees, its board of directors and members of selection committees 2023); Germany (diversity awareness workshops for members of grant allocation committees
and for its employees - 2023); the United Kingdom (compulsory training to combat racism in
the industry - 2023) and Luxembourg (workshops to raise awareness of unconscious prejudice
and inclusion for its employees - 2023). s - 2023); the United Kingdom (compulsory training tocombat racism in the industry - 2023) and soon Luxembourg (workshops to raise awareness of
unconscious prejudice and inclusion for producers and industry professionals - 2024) as well
as Cyprus (a. The project team in question will then have to prove its involvement to thecommittee and the eﬀorts made on the gender issue in order to move on to the next stage offunding).
Focus on Iceland : as part of their internal procedures, the Icelandic Film Centre’s
consultants are instructed, when reading and evaluating script projects, to consider thecriteria deﬁned in the Bechdel-Wallace test and to check whether the creative content of theapplications favours multidimensional female characters.

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A DISTINCT TEMPORALITY BETWEEN THE POLICIES ADOPTED AND THE STATISTICS
Finally, it should be remembered that this study consists of an inventory of the policies andinitiatives taken by States to promote parity in the ﬁlm industry, which makes it an exclusively
qualitative study. The statistics mentioned at the beginning of each country chapter come fromthe study published by our partner, the European Audiovisual Observatory (EAO). Although we
note that more and more countries are committing themselves to these issues of parity andgender diversity, and that more of them are putting policies in place, the eﬀects of thesemeasures are not immediate. The timeframe of the study is therefore twofold, between ﬁguresthat reﬂect the impact of measures taken a number of years ago, and measures and policies
taken this year, the consequences of which will be measurable later.
Since we know that there can be no real progress on these issues without ambitious policies,
we will continue this work of collecting data year after year, to contribute at our level toencouraging countries to take a reﬂective look at their own measures and be open to theinnovative practices of other countries.
Focus on the EAO statistics: on the statistical side, ﬁgures from the European Audiovisual
Observatory show an increase in the share of ﬁlms by female directors on average acrossEurope, but this progress is very slow and far from linear: some years see a decline in theshare of ﬁlms by female directors, as in 2018 and 2022.
The European average for 2018 - 2022 is 23% (compared with 22.4% for 2017 - 2021 and21.3% for 2016 - 2020).
To look at the statistics over a longer period, between 2013 and 2022 the European averagefor the share of ﬁlms by female directors rose from 19.9% to 22.4%: if the statistics continue
to evolve at this rate, we'll have to wait until... 2080 to reach parity.

Qualitative study on the place of female directors in Europe - The Lab Femmes de Cinéma

11IV. SUMMARY TABLES
1. TYPES OF POLICIESTYPES OF MEASURES

EXAMPLESStatement of objectives
Intentions

Recommendations
Charters

Horizontal
policies

Gender Mainstreaming

Positive action

Speciﬁcpolicies

Production of gendered data /inclusion criteria for funding
allocation

Regulatory
policies

Quotas / prioritisation ofprojects

Incentive
policies

Support / mentoring / bonuses/ childcare facilities

Awareness
Visibility
Information

Special prize for women
directors / creation of a "genderequality" section on theCentre's website

Fight against violencePrevention campaigns / training/ setting up a harassment
referent on shoots

Qualitative study on the place of female directors in Europe - The Lab Femmes de Cinéma

122. MEASURES BY COUNTRY
Country

Intentions

Albania

Regulatory
policies

Incentive
policies

Gendermainstreaming

Awareness
Visibility

Fight against violence

X

Austria

X

X

X

X

X

X

Belgium (Wallonia)

X

X

X

X

X

X

Belgium (Flanders)

X

X

X

X

X

Croatia

X

X

X

X

X

X

X

X

X

X

Bosnia andHerzegovina
Bulgaria

CyprusX

X

Czech Republic

X

X

Denmark

X

Estonia

X

X

X

X

Finland

X

X

X

X

X

France

X

X

X

X

X

Germany

X

X

X

X

X

GreeceX

X

X

X

HungaryX

IcelandX

Ireland

X

Italy

X

X

X

X

X

X

X

X

X

X

X

X

X

X

X

X

X

X

X

LatviaLithuania

X

Luxembourg

X

Malta
Montenegro

X

North Macedonia

X

Norway

X

X

X

X

X

X

X

X

X

X

X

X

X

X

X

X

PolandPortugal

X

X

Romania

X
X

SerbiaSlovakia

X

X

X

X

X

X

X

X

Slovenia

X

Spain

X

SwedenX

X

X

X

The Netherlands

X

X

X

X

Switzerland

X

X

X

X

X

X

X

X

X

X
X

UkraineUnited Kingdom

X

Qualitative study on the place of female directors in Europe - The Lab Femmes de Cinéma

X

13

Qualitative study on the place of female directors in Europe - The Lab Femmes de Cinéma

14