In films like Thirteen and Rocks, showing in London’s new BFI season, teenage girls shape their own portrayal
, a radically collaborative filmmaking process was pursued. The girls had already been taking part in a series of workshops set up by Gavron and her team, across comprehensives and youth hubs in London, when writer Theresa Ikoko shared her story idea. From there, the entire creative team, including the young cast, contributed to the narrative, with Ikoko and co-writer Claire Wilson inviting the girls to stick post-it notes onto each scene with their feedback .
When we question the degree to which the genuine voices, or behaviours, of teenage girls are present in film, we are not only talking about directorial choice – we are also talking about the degree to which the structure of filmmaking itself is allowing that to happen. Techniques of collaboration with girls – co-writing, workshopping, improvising – will always have power when it comes to documenting those more marginalised, and less-seen.
What’s more, I can’t help but think the move to involve girls more directly in their story must, in recent years, come from a realisation that they are authoring moving images about themselves anyway, and all the time. Girls now hold movie cameras in their hands: it’s in their digital lives that they are constantly improvising – re-making themselves post by post, and moment to moment.
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