Oscars' Silver Lining: How the Doc Branch Puts Women Front and Centre (Column)
The latter duo both achieved remarkable feats that garnered little mainstream press coverage: Reichert won her fourth Oscar nomination, for co-directing the Obamas-backed frontrunner “American Factory,” 42 years after her first, for 1976’s “Union Maids.”And Natasegara is on a hot streak, landing her third nomination in five years for producing “,” on the heels of 2017 doc short winner “The White Helmets” and 2015 feature nominee “Virunga.
“It’s unfortunate that in a year with strong female filmmakers, none of them were chosen in the Best Director category,” she adds. “I hope that will change, and people will continue to bring attention to that, because it’s one of the reasons why I wanted to make films. What brought me to filmmaking is that I did not see, onscreen, the stories I lived as a woman.”
And might one read the branch’s surprise snub of box office smash “Apollo 11” as an implicit rejection of a focus on white men’s achievements and 1960s attitudes? Perhaps. She also points out that, while female documentarians have made gains in recent years, “it tends to be more white women” making those gains.
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