Recently, legendary director Steven Spielberg went on record stating that he believes that films premiered on streaming services like Netflix should be considered TV movies eligible for Emmys rather than Oscars. This topic isn’t new as the Cannes Film Festival has had issues with Netflix Originals. Attempting to differentiate films by their distribution, however, will lead to a dangerous, elitist territory in Hollywood.
When considering the work of female filmmakers, Ava DuVernay is a name that stands out in the minds of many. Her achievements are overwhelming; she is the first African-American woman to win the Best Director prize at Sundance, the first black woman to be nominated for a Best Director Golden Globe, and the first black female director to have a film nominated for Best Picture at the Oscars. She has Emmys, Black Reel Awards, Independent Spirit Awards and countless nominations under her belt. In 2018, her film ‘A Wrinkle in Time’ will make Ava DuVernay the first black woman to direct a live-action film with a budget of over $100 million.
In many ways, these facts are shocking – DuVernay should not have had to be the first to lay claim to these achievements. Regardless, her filmography paints a picture of true passion for the moving image. From short films to television specials, documentaries to biographical films, there doesn’t seem to be much that the filmmaker won’t try her hand at. As a director, writer, producer, marketer, and distributor, DuVernay is also involved in every level of the process – occasionally even making appearances in front of the camera (‘This is the Life (2008)’). The variety of her work represents not only an ability to adapt to various genres, but also the method by which she rose to fame. DuVernay did not go to film school, and instead practised her craft through lower-budget documentary filmmaking.