It’s time to face the truth: Lists focusing on women in international film such as THR‘s Most Powerful Women should be outdated by now, considering it’s 2025. However, the struggle for equality within the global entertainment industry is far from over. In many areas, it’s just starting. The resistance against DEI initiatives in the U.S., coupled with a damning report on systemic abuse across the arts in France, underscores the fact that progress is under attack. That’s why highlighting these 45 influential figures worldwide feels more necessary than ever. As Carole Scotta, co-founder of Haut et Court in France, puts it, “We must fight back with every weapon and resource we possess.” Similarly, Mo Abudu, CEO of EbonyLife in Nigeria, states, “Until the industry makes space for diverse voices from various cultures and backgrounds systemically, we will continue to miss out on impactful, transformative storytelling.” In essence, this list isn’t just a celebration; it’s a call to action.
Mo Abudu
CEO, EbonyLife Media (NIGERIA)
For decades, Abudu has been a consistent presence on THR’s international influential figures lists, not merely as a media tycoon but as a catalyst for change. The British-Nigerian creator of EbonyLife Media has spearheaded an array of projects, from homegrown blockbusters like ‘The Wedding Party’ and ‘Òlòtūré’ to high-profile partnerships with Netflix and Sony. In 2024, she unveiled the $50 million Afro Film Fund and disclosed plans for EbonyLife Place London, a cultural epicenter slated to open before the year is up. Her advice to young women is simple: “Keep your gaze steady, remain true to yourself, and discover your unique voice.” She believes that what the world truly needs isn’t more replicas, but the extraordinary gifts only you can offer.
Maren Ade and Janine Jackowski
Co-founders, Komplizen Film (GERMANY)
For over two and a half decades, the team at Komplizen Film based in Berlin has been advocating for auteur cinema. Notably, Ade has directed the critically acclaimed film, Toni Erdmann, which was nominated for an Oscar, while Jackowski has been responsible for a diverse array of German and international independent films. Their latest collaborative projects include Spencer, Corsage, and Sentimental Value, all of which were featured in the competition at Cannes. According to Jackowski, the world of film financing values stability, especially amidst increasing uncertainty surrounding tax incentives and public funds. Despite these challenges, they remain optimistic about daring cinema. They believe that films like Anora and Emilia Pérez demonstrate that innovative storytaking can still resonate with a wide audience.
Funke Akindele
Funke Akindele Network (NIGERIA)
In a nutshell, Akindele handles the roles of actor, scriptwriter, director, and producer. Her 2024 Nigerian box office sensation, Everybody Loves Jenifa (the third installment in the successful comedy series), once again demonstrated her multi-faceted creative style. Her production company, Funke Akindele Network (FAAN), is dedicated to promoting indigenous Nigerian tales and maintaining control over their portrayal. As she puts it, “It’s about owning and empowering our storytelling.” Given the success of her locally produced blockbusters, it’s clear that viewers appreciate how she narrates these stories.
Manon Ardisson
Head of Fiction, Cottonwood Media (U.K.)
Based in Paris yet always keeping an attentive gaze towards the U.K., Ardisson is stealthily constructing a small dynasty of indie acclaim. She was instrumental in the creation of Francis Lee’s critically-acclaimed film “God’s Own Country” and the empowering documentary “Witches“. Alongside this, she co-founded Ardimages U.K., a company with a focus on female perspectives. In 2024, her production of “Kneecap“, an Irish rap biopic directed by Rich Peppiatt, catapulted him to become the most recognized newcomer in BAFTA history.
Barbara Broccoli
Co-owner, Eon Productions (U.K.)
With no need for preamble – Broccoli is one of the primary driving forces behind one of the most successful film franchises in history (with her half-brother Michael Wilson being the other). While she’s just made headlines by selling Bond to Amazon for a rumored billion dollars, it’s clear that her cinematic pursuits extend beyond martinis shaken not stirred and high-speed Aston Martin chases. Broccoli’s production company, Eon Productions, has also recently produced films like ‘Till’ and ‘The Accidental Getaway Driver’, among others. The spotlight is now on the new Amazon owners of Bond, Amy Pascal and David Heyman, who undeniably have big shoes to fill.
Bettina Brokemper
Founder, Heimatfilm (GERMANY)
For years, the established German film producer has been advocating for bold, creator-centric films through her Cologne-based production company, Heimatfilm. As she points out, preserving artistic variety and independence becomes increasingly difficult in a market dominated by algorithms. There’s a risk that narratives not conforming to standard global streaming patterns might be disregarded, despite their potential significance. Her portfolio encompasses Lars von Trier’s Antichrist, Margarethe von Trotta’s Hannah Arendt, and the forthcoming LGBTQ+ period dramas Miss Pirie and Miss Woods, featuring Flora Nicholson and Fiona Shaw. To young female directors, she offers this advice: “Make room for yourself, express your views openly, and build a network of people who appreciate your unique perspective.
Renata Brandão
CEO, Conspiração Filmes (BRAZIL)
Brandão plays a significant role in some of her nation’s most talked-about recent productions. She has contributed to the success of shows like “Sintonia” on Netflix, “DNA Do Crime”, and “Vale o Escrito” on Globoplay. Her approach combines local authenticity with global appeal, and she is not shy about Brazil’s expanding impact in worldwide storytelling. “Audiences crave stories that resonate with their experiences,” she notes.
Kristina Ceyton and Samantha Jennings
Co-founders, Causeway Films (AUSTRALIA)
Via their production company Causeway Films, the team of Ceyton and Jennings have played a crucial role in reviving worldwide interest in Australian horror cinema. Following their initial success with “The Babadook” and “The Nightingale”, they achieved further acclaim with “Talk to Me”, A24’s 2023 supernatural blockbuster. They continue to generate excitement with upcoming projects such as “Bring Her Back“, featuring Sally Hawkins, and “Went Up the Hill“, starring Vicky Krieps and Dacre Montgomery. Whether it’s spine-chilling horror films or critically acclaimed independent productions, this duo has subtly risen to become one of Australia’s most influential exports in the film industry.
Valérie Delpierre
CEO, Inicia Films (SPAIN)
Delpierre has established herself by highlighting rising female talents and lesser-known linguistic groups. Her latest notable works include Klaudia Reynicke’s Swiss Oscar contender, “Reinas“, and Pilar Palomero’s “Glimmers“. As she puts it, “With the abundance of content today, the challenge lies in connecting with audiences in impactful ways.” The film she wishes she had produced is “Poor Things“, which she describes as a “bold, unique visual realm”. Her guidance for women starting out: “Trust your instincts, but always strive to enhance and refine your work.
Jyoti Deshpande
President, Jio Studios (INDIA)
As a seasoned figure in India’s media landscape, Deshpande has transformed Jio Studios into a content powerhouse, supporting over 150 films and series across various languages. In the year 2023, Jio accounted for almost half of the Hindi box office earnings and more than 100 awards, including the best film award at the Bollywood Oscars for the film “Laapataa Ladies“. Deshpande’s most joyful moment came when three actresses from her studio received significant recognition. “Pratibha Ranta and Nitanshi Goel were applauded for their roles in “Laapataa Ladies“, while Janki Bodiwala won for her performance in “Shaitaan“. Previously serving as the CEO of Viacom18, Deshpande identified the “static market size” and escalating costs of content creation as the main hurdles today. Her advice: “Trust your abilities, aim for outcomes, and remember, size isn’t always superior.
Jennifer Dodge
President, Spin Master Entertainment (CANADA)
Dodge has played a crucial role in transforming Canadian children’s brands into international television sensations, with the most notable example being PAW Patrol, which has grown into a billion-dollar empire encompassing TV shows, toys, and movies. Dodge was also instrumental in creating the preschool favorite Little Charmers, and is now supervising a live-action version of the game Bakugan. As she explains, the process of blending play and storytelling involves a continuous collaboration between toy designers and animation designers. Few executives are as proficient in the field of children’s entertainment or adept at constructing entire universes from it.
Sidonie Dumas
CEO, Gaumont (FRANCE)
As head of the world’s most established movie production company, Dumas must skillfully blend tradition with modernization. During her tenure, Gaumont has grown on a global scale while focusing intensely on premium TV series (such as “Narcos” and “Lupin”) and indie films like “Night Call” and “Dalloway”. Her most cherished accomplishment? Being bestowed with the International Emmy Directorate Award. “Funding significant independent films is our greatest hurdle,” she admits. Her words of wisdom for the upcoming generation: “Be patient, and never waver in your passion and determination.
Priyanka Dutt
Producer, Vyjayanthi Movies (SPAIN)
Hailing from a prestigious Telugu film dynasty and boasting a degree from UCLA’s film school, Dutt is now penning her own destiny at Vyjayanthi Movies. At just 20 years old, she collaborated on her first full-length production and teamed up with sister Swapna Dutt to revitalize the family studio with acclaimed productions such as Mahanati and the futuristic blockbuster Kalki 2898 AD. She’s further venturing into the realm of streaming services, overseeing the creation of the Amazon series Kumari Srimathi.
Maria Ekerhovd
Founder, Mer Film (NORWAY)
As a devoted admirer, I’d like to highlight Ekerhovd, a trailblazing figure in Scandinavian cinema. She stands behind the camera for Sentimental Value, Joachim Trier’s latest contender at Cannes, and leads a program that fosters the emerging talent of Nordic filmmakers. My first encounter with her work was through Sniffer, a short film that claimed the Palme d’Or. Currently, she expresses concerns about the uncertain global climate as the biggest hurdle for the international film industry. In these challenging times, she emphasizes the necessity of art more than ever before. She advocates our collective efforts to ensure its distribution and accessibility to audiences worldwide. Ekerhovd firmly believes in cinema as a unifying art form that brings us together in theaters.
Tara Erer
Head of U.K. & Northern Europe Originals, Amazon MGM (U.K.)
Since becoming department head in 2023, Erer has successfully cultivated a youthful fanbase from scratch. Her portfolio encompasses hit unscripted shows like “Molly-Mae” and “Clarkson’s Farm”, as well as popular features such as “My Fault London”. Moreover, she is responsible for the £10 million ($13.3 million) Prime Video initiative aimed at training and diversifying Britain’s production industry. Her key piece of advice? “Keep an open mind to ideas you never considered; you might be surprised by what you’ve been overlooking.
Cécile Gaget
CEO, Carrousel Studios (FRANCE)
Having experience at Wild Bunch, Gaumont, and Anton Capital, Gaget has a history of handling multi-national deals, from Olivier Nakache’s film ‘The Intouchables’, a drama about quadriplegia, to Gerard Butler’s disaster movie ‘Greenland’. Now serving as the CEO of Carrousel Studios, the recently established European independent studio co-founded by Omar Sy, Louis Leterrier, and Thomas Benski, Gaget intends to revolutionize the Hollywood production system by offering creatives genuine intellectual property ownership. With extensive financial connections and a keen understanding of the market, Gaget stands out as one of Europe’s most influential film financiers. “Talent is merely the beginning,” she states, “What truly makes an impact is consistently showing up, putting in the work, and remaining dedicated even when attention isn’t focused on you.
Dyveke Bjorkly Graver
Co-founder, Eye Eye Pictures (NORWAY)
Following the success of Joachim Trier’s Oscar-nominated film “The Worst Person in the World”, Graver established Eye Eye Pictures to champion bold new directors making their debut. Her recent projects include “Armand”, winner of the Camera d’Or at Cannes, and “A Prayer for the Dying”, a Western featuring John C. Reilly. She is also collaborating on Ruben Östlund’s upcoming film “The Entertainment System Is Down”. Her advice is to be thoroughly prepared and trust your instincts. “If obstacles arise when things are still uncertain, it might not be a journey worth pursuing,” she says.
Karen Harnisch
Co-president, Film Forge (CANADA)
Over time, Harnisch has earned a reputation as one of Canada’s reliable independent producers, with projects such as “Sleeping Giant”, “White Lie” and Brandon Cronenberg’s “Infinity Pool” under her belt. This year, she showcased “Shook” at TIFF – a film she describes as a “warm, humorous, and emotionally resonant indie”. As an assistant professor at Toronto Metropolitan University, Harnisch identifies the struggle for financing as the main hurdle today. Her advice to young women is to believe in themselves: “You are enough just as you are,” she says. “Seek mentors who recognize your potential.
Pippa Harris
Co-founder, Neil Street Productions (U.K.)
The multiple award-winning film producer, who shares the helm of Neal Street Productions with director Sam Mendes, is not only contributing to the management of this production company, but she’s also significantly influencing British cinema from a high level. She seamlessly transitions between critically acclaimed films like ‘1917’ and popular TV series such as ‘Call the Midwife’, all without missing a beat. Her most cherished achievement? Securing the approval of The Beatles for the upcoming quartet of moptop biopics that Mendes will direct. “Begin in the world you wish to remain in,” she suggests. “Breaking into art house cinema is no easier than breaking into daytime TV – so don’t start in the wrong place.
Rozita Hendijanian
Producer (IRAN)
Hendijanian played a significant role in bringing the film “The Seed of the Sacred Fig,” which was a contender at Cannes and later earned an Oscar nomination, to life under challenging circumstances. This moment was deeply emotional and filled her with pride. The movie is part of her extended collaboration with Rasoulof, having previously worked on “Goodbye” and “A Man of Integrity.” Looking back, she remembers the process as arduous and risky, but feels it was nothing short of a miracle that they managed to finish it.
Jay Hunt
Chair, BFI (U.K.)
Prior to her current role in crafting global programming for Apple TV+ and leading the British Film Institute, Hunt was instrumental in shaping the golden age of British television. In her position as controller of BBC One, she initiated hit series such as Sherlock and Luther, two of Britain’s most successful productions over the past two decades. Subsequently, at Channel 4, she approved Derry Girls and First Dates and brought Formula 1 to broadcast. Currently, at Apple, she manages renowned titles like Bad Sisters and Slow Horses.
Rocío Jadue
Head of Films, Fabula (CHILE)
As the head of Spanish-language features at Chile’s Fabula, Jadue has been instrumental in creating some of the most critically acclaimed films in the region, such as the Oscar-winning “A Fantastic Woman”. Her 2024 lineup is equally impressive, with Pablo Larraín’s “El Conde” and Maite Alberdi’s “The Eternal Memory” both receiving nominations from the Academy. She also completed Chile’s first musical, a project five years in the making with Sebastián Lelio. Her advice is to familiarize yourself with every aspect of the process and not just rely on passion – instead, cultivate genuine knowledge.
Sophie Jordan
Co-CEO, Wild Bunch (FRANCE)
The co-CEO of The Wild Bunch has skillfully navigated the French indie giant through the challenges posed by the pandemic using quick, strategic moves across Europe. During her tenure, the company released powerful films such as “The Boy and the Heron” and “Memoir of a Snail.” Just like many others on this list, she regrets not having produced the critically acclaimed film “Anora,” which seems to perfectly align with our values – bold, unique, and emotionally impactful. In her role, she views her job as a delicate balance between maintaining agility and adapting to the ever-changing market conditions.
Gauri Khan
Co-founder, Red Chillies Entertainment (INDIA)
In partnership with Shah Rukh Khan, who is also her husband and a renowned figure in the global entertainment industry, Gauri Khan played a crucial role as co-founder of Red Chillies Entertainment. Through her expertise, they transformed Bollywood stardom into a thriving business empire. She was instrumental in producing successful films such as “Om Shanti Om”, “Chennai Express” and “Happy New Year”, all featuring Khan himself, and also broadened the brand to venture into VFX, distribution, and collaborations with streaming giants like Netflix. Gauri’s strategic acumen has significantly contributed to Red Chillies Entertainment becoming one of India’s most internationally recognized film companies.
Minyoung Kim
VP Content, APAC (Excluding India), Netflix (SOUTH KOREA)
As a gaming enthusiast, I’m the driving force behind Squid Game’s phenomenal success and its groundbreaking sequel, as well as an expanding pipeline of captivating K-content that now resonates with over 80% of Netflix’s global audience. I can’t help but feel a sense of pride when I see the massive interest in locally rooted stories with universal themes, such as Kill Boksoon and Culinary Class Wars. Moreover, I’m passionate about nurturing the next generation of creative talents through mentorship and workshops. My advice for aspiring artists is to make choices that instill a sense of pride in who you are.
Iris Knobloch
President, Cannes Film Festival (FRANCE)
When Anora Knobloch assumed the role of the first female president at the Cannes Film Festival in 2023, it seemed long overdue. Having worked at Warner Bros., she had the necessary skills, and since then, she has played a significant part in helping Cannes enjoy a successful period, both critically and commercially. “Anora” won both the Palme d’Or and an Oscar, while “The Substance” earned a rare best director nomination for a woman. She believes that “Cinema never retreats; it adapts to its time.” Her one piece of advice for women in the industry is simple: “Trust your intuition.
Anne-Laure Labadie
Co-founder, Le Pacte (FRANCE)
Labadie’s distribution company has experienced an exceptional year, thanks in large part to Sean Baker’s film Anora, which garnered both the Palme d’Or and the Academy Award for Best Picture. She describes the movie as “moving, funny, smart, and completely unique.” At present, her primary worry is cultural protectionism. She cautions that the Trump administration poses a significant threat to European independent film, pointing to ongoing disputes concerning trade and streaming regulations. To young women pursuing careers in film, she offers this advice: “Prepare for the hard work – it’s a genuine industry with real hurdles to overcome. But remember, there are also numerous rewards waiting for those who persevere.
Miky Lee
Vice Chairwoman, CJ Entertainment (SOUTH KOREA)
Known as one of Asia’s most influential figures in media, Lee has significantly contributed to the global recognition of Korean cinema, even securing a place on the prestigious Oscar stage. As Vice Chair of CJ ENM, she played a pivotal role in supporting the production of “Parasite,” investing $100 million in Skydance, and acquiring majority control of Fifth Season. Currently, her efforts are directed towards revitalizing the appeal of theatrical releases. She emphasizes that film prosperity relies on openness, advocating for the telling of universal stories on a grand scale. Her words of wisdom: “Take initiative, foster genuine relationships, and uplift others as you climb.
Jia Ling
Founder, Big Bowl Entertainment (CHINA)
Following the success of her record-breaking 2021 time-travel comedy “Hi, Mom”, which became one of the biggest hits in Chinese cinema history with earnings of $822 million, the comedian-turned-director repeated her achievement, or nearly so, in 2024 with her female boxer comedy “Yolo” earning $484.5 million. Her unique mix of emotion and humor, frequently centered around personal growth, has resonated deeply with Chinese audiences, turning each of Jia’s releases into a significant national event. It’s quite impressive for someone who began in xiangsheng, China’s equivalent to stand-up comedy.
Anna Marsh
CEO, StudioCanal (NEW ZEALAND)
In 2024, Marsh marked the company’s most profitable year at the box office with hits like “Back to Black”, “We Live in Time”, and even “Paddington in Peru”. Following this success, she was promoted to the position of Chief Content Officer for her parent company, Canal+ Group. As Canal+ has now gone public, Marsh is spearheading a significant growth strategy, including investments in MultiChoice (Africa), Viu (Asia), and an ambitious new genre label called Sixth Dimension. Few executives are operating at her level or across as many continents.
Nicole Morganti
Head of Local Originals, Southern Europe, Amazon MGM (ITALY)
As the leading content executive for Amazon in Southern Europe, Morganti manages originals spanning Italy, France, and Spain. Her latest achievement is the hit teen romance sequel Culpa Tuya, which broke records as Amazon’s most-watched international original film. Originally focused on unscripted content, she was instrumental in launching shows like X Factor and MasterChef in Italy. Currently, her portfolio includes thrillers and action comedies. According to her, there’s always room for growth and improvement. The pinnacle of her career came in 2024 when she witnessed a crowd of 6,000 fans at the Palacio Vistalegre Arena cheering for the premiere screening of the second installment of Amazon’s teen romance franchise Culpa Tuya, much like they would at a rock concert.
Leontine Petit
CEO, Lemming Film (NETHERLANDS)
Petit is known for championing daring, unconventional films. Her surreal drama titled “Mr. K“, which stars Crispin Glover, made its premiere in the main competition of Toronto – a significant career milestone for this Dutch producer. According to her, “Too often, choices are driven by fear, which leads to films feeling repetitive and indistinguishable.” Petit advocates for stories that are risky and voices that defy the status quo. Her suggestion: “Aim high and create a network based on creative respect. It’s not about rushing – it’s about producing quality work.
Ewa Puszczynska
CEO, Extreme Emotions (POLAND)
Agata Puszczynska is renowned for her cinematic works that resonate deeply emotionally and historically. She’s the producer behind Oscar-winning films like Ida, The Zone of Interest, and Jesse Eisenberg’s Sundance hit, A Real Pain. Yet, her aspirations aren’t limited to Holocaust narratives. Her 2024 lineup boasts the jazz-infused film, Köln 75, the genre-blending movie, Minotaur Rex, and two debut features from female directors. As she puts it, “Instead of just discussing gender inequality, women producers should take action.
Tessa Ross
Co-CEO, House Productions (U.K.)
After an exceptional year, Ross’s works, including ‘Conclave’ and ‘Bird’, received BAFTA nominations, and ‘The Zone of Interest’, which she executive produced, was a huge success at the Oscars. However, now that she’s reached the pinnacle of success, she finds herself contemplative about the future. Questions like “What are the viewing habits of the upcoming generation?”, “How should we effectively utilize and ethically navigate AI?”, “How can risk-taking productions continue to flourish?”, “How can diverse tastes prevail in an industry dominated by consolidation?”, “How can everyone earn a living in film, rather than having some earn significantly more while others struggle?” are weighing heavily on her mind.
Monika Shergill
VP Content, India, Netflix (INDIA)
Shergill has played a significant role in reshaping the Indian streaming landscape, giving the green light to popular series such as Delhi Crime and Amar Singh Chamkila. A previous journalist and documentary filmmaker, Shergill declared 2024 as the year when Indian narratives truly gained prominence, transcending the screen to become significant cultural phenomena. “Consider Heeramandi for example – it’s not merely a show; it became a visual and cultural phenomenon,” she says. “It ignited a creative wave on social media with fan art, discussions, and reactions that surpassed mere viewership.” Her message to young women: “Have faith in your voice, stay curious. Your stories have the power to provide unique perspectives.
Valérie Schermann
Producer, Akaba (FRANCE)
What could make Schermann particularly proud in 2024? It’s quite straightforward. That would be witnessing the enthusiastic response from Cannes audiences towards Emilia Pérez’s latest project, a joint effort with Jacques Audiard. As she puts it, “The atmosphere was electric. The movie was simply stunning.” Being an advocate for innovative filmmakers, Schermann emphasizes the significance of perseverance, particularly in the industry for women. “We need to be twice as strong to make our voices heard, and that can be exhausting. But don’t lose hope.” Her biggest concern? A world where creative voices are suppressed. “Freedom of artistic expression is the most crucial aspect.
Carole Scotta
CEO, Haut et Court (FRANCE)
From “Ma Vie en Rose” to “The Class” and onto “Santosh”, Scotta has transformed Haut et Court into a powerhouse of emotionally charged, high-quality cinema. She co-founded The Creatives, a pan-European alliance for independent filmmakers, and is currently working on the production of “Sukkwan Island”, a decade-long collaboration. Her motto: “Less is more.” Scotta voices concerns about the increasing dangers to Europe’s film industry – from protectionist policies under the Trump era to an excessive focus on box office success. “Robustness over box office,” she advocates. “That’s the key to staying sustainable.
Nansun Shi
Co-founder of China’s Distribution Workshop (HONG KONG/CHINA)
Known for her groundbreaking work in Chinese cinema, Shi established Film Workshop in 1984 and produced iconic films such as “A Better Tomorrow” and “Once Upon a Time in China.” She later launched Distribution Workshop to share Chinese movies globally. Currently still producing, Shi was honored with a lifetime achievement award at the 2024 Hong Kong Film Awards.
Katrine Vogelsang
CEO, Nordisk Film (DENMARK)
In 2024, Vogelsang achieved a career peak with “The Girl With the Needle,” which garnered buzz at both the Oscars and Cannes Film Festival (“an unforgettable moment”). Her journey began as an intern at Lars von Trier’s production company Zentropa, working in an unpaid position. Later, she climbed the ranks at Denmark’s public broadcaster DR, contributing to early successes such as “Taxa.” She emphasizes that the film industry is undergoing significant change and calls for innovative solutions, stating, “We need fresh perspectives — and captivating narratives to help us emotionally navigate these challenging times.” Her advice to aspiring filmmakers: “Speak up as the voice of your generation. And let me know how I can assist in preparing the industry for you to lead, because that day is certainly coming!
Cassandre Warnauts
CEO, Frakas (BELGIUM)
From an internship to becoming CEO of Frakas, Warnauts has had a prime view of Belgium’s ascendancy in international co-productions. She supported the Cannes winner Titane and this year collaborates again with director Julia Ducournau on Alpha. At Toronto, she produced Bring Them Down with Barry Keoghan. Her most satisfying achievements? Matching local talents with foreign directors and witnessing the resulting creative sparks. “It’s crucial to amplify emerging voices – writers, technicians, even actresses who have been neglected by the system – so they can be heard,” she asserts. “That’s where true diversity originates.
Sarah-Jane Wright (Top International Film Exec)
Head of Production, Working Title (U.K.)
Is it accurate to say that Sarah-Jane Wright is one of the most diligent women in British cinema? The facts certainly support this claim. Over a career spanning three decades, she has played a significant and often behind-the-scenes role in producing some of the U.K.’s most memorable modern films. Movies like Pride and Prejudice, Love Actually, Tinker Tailor Soldier Spy, Les Misérables, and Baby Driver all bear her mark, even though she herself is seldom in the limelight.
Back in 1993, I started my journey as a runner at Fugitive Features, humbly taking each step. Fast forward to 2014, I found myself orchestrating Oscar campaigns for the biopic of Stephen Hawking, The Theory of Everything. And then, in 2024, I was gracing the stage at Cannes, sharing the spotlight with Coralie Fargeat and her groundbreaking film, The Substance, a subversive take on body-horror thrillers.
She shared that she was deeply involved with that particular movie. “Coralie was an incredible powerhouse,” she noted, “and I found Demi Moore inspiring every day while filming.” This movie, a thought-provoking critique of beauty norms with its surreal and violent elements, ultimately garnered significant awards at film festivals and reintroduced a fresh audience to a less popular genre.
In the same year, Wright was instrumental in adapting “Bridget Jones: Mad About the Boy” for the big screen, serving as a poignant farewell for Renée Zellweger’s beloved character, Bridget Jones. This film marked the fourth installment in the series and was Wright’s fourth collaboration on a Bridget Jones film. The movie earned over $130 million worldwide and garnered some of the best reviews in the franchise. “Renée and I are the same age,” Wright noted. “It’s been marvelous to grow up with her.” Such long-term partnership is one of Wright’s distinguishing characteristics.
She’s equally adept at handling large-scale high-profile dramas (such as Darkest Hour), complex biographical films (like Mary Queen of Scots), popular musical productions (including Yesterday)), and continues to be a significant player in the development of Working Title under Tim Bevan and Eric Fellner. Throughout her career, she’s kept her focus on the job at hand. To young women entering the industry, she encourages ambition: “Don’t shy away from being ambitious,” she says. “Be vocal, be prepared to work tirelessly, and never forget that your female perspective is valuable and distinctive.
According to Lily Ford, Wright believes the key to the future of British cinema involves bravery, encompassing not just subject matter but also conviction. Whether it’s reviving a cherished series or plunging into unfamiliar genre waters, Wright remains dedicated to storytelling that strikes a chord at home and abroad. “Each obstacle serves as a spark for innovative ideas,” Wright remarks. “It’s an opportunity to work with fresh talent and re-envision our treasured tales.” — Lily Ford
Eva Yates
Director, BBC Film (U.K.)
Yates has quietly yet distinctly steered some of the U.K.’s most captivating recent films, including “Aftersun,” “Rye Lane,” and “Santosh,” which represented the nation in the Oscars. With two upcoming titles at Cannes (“Urchin” and “My Father’s Shadow”), she is developing a diverse portfolio that combines authenticity with emotional impact. Her approach: “Aim for quality excellence, and maintain it consistently.
Chen Zhixi
CEO, Wanda Film (CHINA)
Chen, a prominent figure in Beijing’s Heyi Pictures who serves as both a prolific producer and founder, has supported some of China’s top-grossing comedies, such as “Hello Mr. Billionaire” and “Goodbye Mr. Loser”. Yet, she is not limited to comedy; she also collaborated on Lou Ye’s Cannes Film Festival black-and-white espionage drama, “Saturday Fiction”, featuring Gong Li. With a keen sense for both commercial success and artistic vision, Chen represents the emerging wave of female producers who are subtly transforming China’s film industry.
You can find this article in the May 7 edition of The Hollywood Reporter magazine. If you’d like to receive future issues, consider subscribing by clicking here.
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