“Our fight for parity and diversity is happy!”

Rebecca Zlotowski in September in Saint-Etienne (FREDERIC CHAMBERT / MAXPPP)

Rebecca Zlotowski is the guest of Thierry Fiorile. Very committed to the collective 50/50 in very concrete work, the filmmaker advocates a political fight, societal, for women, but also for men.

franceinfo: How did you live this crazy fortnight for French cinema?

There is a climate that I find bright, which allows to change the paradigms of a society that was unequal. I am happy when there is a moment of crisis, when we see things move, when we are no longer a caricature of ourselves, of his gender, of his sex, of his ethnicity.

I have the wish that it is politicized more, rather than it remains in the affairs of manners. The position we must have today is more and more political, less and less moral, and less and less purely judicial, even if it is very important. Our idea is that the most important lever is the distribution of power, as we see in the two cases we are talking about. In the Polanski case and the Haenel case, the truth is still a little bit in the hands of the one with the power. That's what you just have to understand, you have to live up to that political truth.

The cinema will lose this battle if it does not understand the economic urgency to seize these subjects.

Rebecca Zlotowski

When an actress leaves her category of dominated actress and becomes a powerful actress, the reception of her speech is totally different, and conversely, when a director remains in the caricature of a dominant director or in the denial, one encamps on his positions and we do not reach the heart of the debate which for us is the more egalitarian distribution of power. Not only on the side of parity but also on the side of inclusion, diversity.

We look at each other. Our industry resembles many others, it is mainly white, it is mainly in the hands of the same ethnic category, in the hands of Parisians too. If we let Netflix, the platforms the opportunity to be the only ones who address ethnic minorities, sexual, who do it with a little more cynicism but with a little more liberalism, the cinema will lose this battle if he does not understand the economic urgency to seize these subjects.

Your fight is concrete, he is also happy?

We hope ! We can not do anything against a laugh! I am convinced that we can do it in an inclusive, joyful, positive, incentive way rather than in sanction, to do it with joy and equality. To do it between men and women. The first to liberate right after women are men. To free them from a certain conception of manhood that weighs on them. I am surrounded by men who either do not correspond to the caricature of their sex and gender, or suffer from it.

It's also in your art, in the cinema that you do?

This political consciousness also passes through the representations that I invent. I am the typical example of someone who before having a political awareness filmed his socio-professional category, his face, and then, it turns out that this year I made a film, An easy girl with Zahia Dehar and Mina Farid and a mini-series on Canal Plus, The Savages, which is the first series with a majority of minorities on the screen.

The awareness leads to a change of representation, of our centers of interest, a displacement of one and the other. We can still wish that!


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