Conclusion

The systemic barriers for Black, Indigenous, and other racialized women and non-binary people in the film and television industry have emotional and material impacts. Removing those barriers may require time, effort, and energy, but the solutions are not complicated. 

One of the main recommendations that emerged from the focus groups was simply creating opportunities for BIWOC to lead, hire, and cast. When given the chance, participants readily embraced the opportunity to give untested talent an opportunity to work on their projects and to collaborate with talent from their community and/or other people of colour. They could tell their stories on their own terms, with people who could engage with those narratives with care and sensitivity.

A few participants encouraged other participants to embrace the industry’s tradition of hiring people in your network as a strategy for inclusion. One producer expressed her passion for training people of colour and Indigenous people and creating employment opportunities for them. 

“As a producer, you’re the one in power, and there's no reason why we can't take structure that exists right now and toss it out the window... My hope is that there are more women and women of colour in those positions of power because that's where we can make that change “

In other words, BIWOC have already developed the networks — relational infrastructure, you could say — for greater inclusion of BIWOC. Networks and streamers, funders, and financiers could easily exceed their diversity and inclusion targets by greenlighting work where BIWOC have creative control. This isn’t to say that installing anyone who identifies as a woman or non-binary person in a position of power is equitable in and of itself. BIWOC who tend to be successful in the industry are generally homogenous in terms of ability, neurotype, and class. However, to achieve more racial diversity in the industry overall, more BIWOC in leadership roles is key.

More funding and policy designed to address the specific needs of BIWOC in film and industry was also recommended. As discussed in the “Tokenization and Stereotyping” and “Structural and Cultural Challenges” sections of this report, the historical roots of underrepresentation are often left unaddressed when grant and mentorship programs emphasize increasing diversity overall, instead of building sustainable careers and affecting systemic change. More equitable and holistically supportive programs are needed to ensure that BIWOC advance from entry-level positions. 

Fostering emotional and cultural safety in the industry was also important to most participants — and this can be achieved through culturally diverse crews. “When we have people in the crew who are diverse, the environment is safer for actors, as well as for me as a director,” said one participant. The practice of hiring counsellors and having elders on set was also recommended.

Our last recommendation is close to our hearts. Throughout the focus groups and interviews, participants told us how meaningful it was to share their experiences honestly, in community with other BIWOC. “No one has ever asked me about these experiences,” one participant said.

In every session, participants expressed the desire to strengthen their connections with BIWOC in the local industry. Facilitating intentional, safe spaces for BIWOC, we discovered, is a gamechanger. While conversations like these don’t dismantle structural barriers, they are vital nonetheless. They help BIWOC find strength in community and in themselves. 

“That was such a powerful thing to have, have us all come together and just speak about our experiences. It was so cathartic to feel like, Oh my god, like, you all know what I'm talking about and I don't have to explain it.”

“That’s how things have shifted for me, realising how many talented filmmakers are put in this box. We’re all struggling with the same things and working together to make things better.”