Representation and the Reality for Women of Color in Film
I find it imperative to examine the precedents that have been set by a lack of inclusion, primarily because of how it impacts my experience as a film lover. Not only do I not see characters who look like me often, but I am also prompted to think of the effects this will have on future generations. The underrepresentation of women of color in film is not at all indicative of how diverse the population is. When analyzing the 2020 Census Demographic Profile for the United States, we see that women of color make up approximately 20 percent of all Americans. This percentage encompasses women who are Black or African American, Hispanic or Latino, Asian, Indigenous American or Alaskan, Pacific Islander, and those identifying with two or more races. With this statistic, we can confront how little we see those identities represented in film.
Diversity and inclusion in the film industry can reflect the identities we see in our lives. When representation misses the mark, however, it can inadvertently offer a path toward improvement. In a 2024 diversity report, it was found that while “BIPOC actors posted gains relative to their white counterparts…both BIPOC and women remained underrepresented as leads.” In other words, despite there being strides toward more Black, indigenous, and people of color in film, it has not been substantial in comparison to historical trends. The same report explains further that “top theatrical films with BIPOC leads were most likely to both have the smallest budgets (less than $10M) and the largest budgets ($100M+), as compared to films with White leads. For BIPOC actors, the opportunity to lead a wide-release film was a bit of a “feast or famine’ experience.” To paraphrase, women of color are already at a disadvantage with the lack of opportunities to be lead actors—even more so with those that are stereotypical. This phenomenon exists in conjunction with those who also do not allow actors the possibility of having as big a budget as their white peers.
The numbers presented in these reports are the result of systemic hindrances. As a result of these obstacles—like access to funding—independent companies step in to fill the gap. Founded in 2011, ARRAY, the multi-platform arts and social impact collective created by filmmaker Ava DuVernay, established itself as “dedicated to narrative change.” Since its inception, ARRAY has been known to give a platform to films made by and starring women of color. Organizations such as this one not only work to combat the stark numbers that we’ve examined but simultaneously produce media that have valuable representation devoid of harmful rhetoric.
While there has been a notable change in the film world for women of color, it is important to acknowledge how much farther we must go. Statistics that show a lack of representation should prompt us to question what we can do to make these spaces more diverse. Developing independent companies to make welcoming spaces for women of color is a welcome step. However, filmmakers like Ava DuVernay are disadvantaged as women of color in this industry. For her, years of hard work were dedicated to even getting to this step in her career. It becomes clear then that there is a persisting need for equality and continued efforts of progress to evolve the film industry from where it stands currently.
