The Pledge for Parity and Diversity in Film Publishing-Distribution and Cinematographic Exploitation Companies

Following the impetus given at the 2018 Cannes Film Festival by the signing of the Collectif 50/50’s Festivals Pledge, and by the measures taken by the CNC and the Ministry of Culture at the end of the 1st “Conference for parity, equality and diversity” in September 2018, in favour of the sector of film production, the Collectif 50/50 encourages film publishing-distribution and cinematographic exploitation companies to commit themselves to promote parity and diversity in film broadcasting and within their teams.

A – STATISTICS

Provide gendered statistics during the calendar year on :

1 / Films

– For cinematographic exploitations : the number of films directed by women programmed in theatres and films having received the bonus; and the total number of screenings from which they benefit (excluding repertoire films, films co-directed by a man and a woman are counted as mixed); the percentage of external speakers and guests.

– For publishing-distribution companies : the number of distributed films directed by women, the average expenses for distribution and acquisition; the number of distributed films directed by men, the average expenses for distribution and acquisition, and if possible production costs.

2 / Staff structure

– Exploitation : number of chief operating directors* and deputy directors, senior executives, non-managerial staff and payroll, the Presidency and the composition of the board of directors within organisations.

– Publishing-Distribution : company managers, directors (of sales, marketing, financial, etc.), programmers, assistants.

For companies with more than 300 employees, provide the score issued from social data.

*for directors, indicate the number of annual admissions to the establishment.

B – PROMOTING THE DISTRIBUTION AND PROMOTION OF FILMS DIRECTED BY WOMEN

1 / Commit to support the distribution of films directed by women and films that have obtained the production bonus in theatres. Make sure to move towards a more equal line-up.

2 / Pay particular attention to the promotion of these films, ensuring that they benefit as much visibility as all films, by the means determined by the company.

The following means may be chosen :

For publishing-distribution companies :

• Include the logo of the films having received the bonus (provided by Collectif 50/50) on promotional material and before opening credits.

• Additional visibility: magazines, digital communication, distribution of advertised films, additional trailer extracts as part of space purchasing.

For theatres :

• Keeping track of gendered statistics relative to labels and “coups de coeur” films delivered by theatres.

• Dedicated, chartered and recurring space on the website’s print and online communication, dedicated film ads space.

• Regular meetings, animation/entertainment sessions in film theatres, debates around the topic.

C – IN TEAMS

1 / Fight against stereotypes in hiring, as stated by the law.

2 / Fight against wage gaps, be attentive to the new tools that will be proposed in order to accompany companies towards concrete actions with the aim to provide a reduction of gaps calendar and promote equal access to managerial and supervisory functions.

3 / Fight against stereotypes (including those related to family responsibilities) and gender-based violence within the company through communication, displaying and informing of the training staff by setting up call-centres and information tools on the subject.

4 / Promote paternity leave and ensure that absences for maternity, paternity, parental or adoption leave do not hinder career and salary development.

D – DIVERSITY

Monitor the tools and support measures that will be created so that exploitation, publishing-distribution structures and broadcasted films be more representative of civil society.