There are five women in the official competition at Cannes this year, three from France, one from Germany and one from Austria representing 23 percent of the 22 films vying for the Palme dOr prize.
It is progress compared to the average of 3 percent of women directors competing from 1946 to 1980, and 12 percent between 2011 and 2020.
This average went up to 25 percent between 2021 and 2025, with a record year in 2023, when six women were selected 33 percent of the total.
Womenare better represented in other categories at the festival, notably Un Certain Regard, where films by female directors from around the world make up 60 percent of the selection this year.
These categories are looking for new talent and are more daring in terms of format, but ultimately have smaller budgets, says French organisationCollectif 50/50.
The independent group produces regular industry reports in a bid to monitor and promote equality in thefilmand audiovisual industry, as well as greater visibility for minority groups in general.
Fanny de Casimacker, the collective's director, has been tracking the representation ofwomenat film festivals for a number of years and while she acknowledges progress is being made, she says there is more to be done.
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Responsibility to lead
"The goal ideally is to have 50 percent women in the official competition, where the power and the greatest recognition lie," she tells RFI.
TheCannes Film Festivalprovides a global platform to foreground issues in the industry and beyond, from gender parity to discrimination and abuse.
As one of Europes biggest film-producing countries,Francemust continue to be a leader in equality and inclusiveness, she says.
"I think it's a responsibility, when you're a major industry, to be at the forefront of social issues."
Members of the jury pose on stage during the Opening Ceremony of the 79th edition of the Cannes Film Festival in Cannes, southern France, on 12 May 2026.
Festival director Thierry Frmauxweighed in on the question in his opening press conference on Monday, dismissing the idea of mandating the inclusion of a certain number of women directors.
"Under no circumstances should there be a quota policy," he insisted, stating that festival organisers nonethelessaim for parityin"the juries and governing bodies".
This is thanks to a charter signed between Collectif 50/50 and the Cannes Film Festivalin 2018to promote greater transparency and inclusion in the wake of the#MeToomovement.
This year,the juryconsists of four women and five men.
The festival director acknowledged that progress remains insufficient. "The figures show that it's progressing, but it's slow, it's not enough," Frmaux said, adding a broader discussion on the role of women in cinema was needed.
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Progress stalling
De Casimacker acknowledges "significant progress" has been made since the Harvey Weinstein scandal in 2017 drew global outrage over sexual violence and prompted wider reflection on women's position in the film industry.
Though cases could still be better managed, she says, there is "a greater willingness to listen, both from institutions and from the profession itself".
But when it comes to the number of women making films, de Casimacker admits "things have lost momentum".
What is worrying, she says, is that the gender parity which has existed in film schools for several years should be reflected in the industry by now, but "that's not the case".
In the Collectifs latest report, which looks atthe 206 films produced in France in 2025, data shows that only 33 percent of directors are women, 31 percent of screenwriters and 15 percent of directors of photography.
There is also a clear divide when it comes to the budgets allocated to women filmmakers, and the representation of women in technical and production roles.
French director Justine Triet, left, with actor Sandra Hueller on the set of the film "Anatomy of a Fall".
Women continue to remain notably dominant in certain sectors, such as costume designers (90 percent) and casting directors (71 percent), for example, but are conspicuously absent in special effects (11 percent) and sound mixing (9 percent).
De Casimacker explains that often the professions dominated by women are those that are given specific, limited remits on set like editing, which takes place behind the scenes.
When there are bigger budgets, there is a large pay gap. Even iffemale costume designers are indeed the vast majority, in the French film industry, their male counterparts are paid more.
"This worries us because we feel that we should redouble our efforts in raising awareness and addressing these inequalities," de Casimacker says.
"Right now, we have the impression that there has perhaps even been a lack of interest in these issues, even though we are very, very far from achieving any form of parity in the industry."
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Since January 2019, the National Centre for Cinema (CNC) has implemented a "parity bonus", a 15 percent film funding incentive for productions that hire women in multiple key roles, in collaboration with Collectif 50/50.
However, the collective has noted a stagnation since 2022: only about35 percentof films qualify each year.
De Casimacker warns that economic pressures hang over the international film industry as a whole, which could spell setbacks on advancing equality and other social issues.
"If there's one thing we observe in all countries, it's that women and female directors are more present in independent films than in big-budget commercial films. And so these are often the first films to be affected by economic difficulties."
Lack of diversity
Collectif 50/50 has also expressed concern over the diversity of countries represented in the official selection this year, with voices from the West dominating.
"This also raises questions about inclusion in general and what international narrative we're presenting, given that the Cannes Film Festival was built around a specific political context and also aims to depict a state of the world. So what does it mean to truly represent a state of the world if it's only a handful of countries telling that story?" de Casimacker asks.
People walk past the Palais des Festivals ahead of the Cannes Film Festival on 11 May 2026.
To help address this imbalance, Collectif 50/50 has launched a mentorship programme, Mariama Lab, for young African women professionals from five West African countries who want to transition from making short films to feature films. In partnership with Mariama Institut, a film writing residency in Mauritania created by screenwriter Kessen Tall and director Azata Soro, participants are supported for a year by leading figures in the film industry.
"The idea is to combine our strengths internationally on these issues, not simply to stop at our national borders, but to consider cinema and filmmaking as a whole,"de Casimacker says, explaining that collaboration is key throughout the audiovisual sector, from financing to production.
Collectif 50/50 is presenting the project on the sidelines of the Cannes festival, where it aims to draw attention to diversity and inclusion through a series ofevents.
"Cinema conveys images, and today, whether internationally or otherwise, with the absence or underrepresentation of certain regions, there's a tendency to value a predominantly white culture and cinema," de Casimacker says.
She and her colleagues aimto "bring the margins towards the centre for a cinema that is a little more inclusive, and that allows everyone to identify and recognise themselves and to have somewhat plural narratives, reflecting our society".
Originally published on RFI
