Drie jaar terug nam documentairemaker Jessica Dimmock, een lid van de Directors Guild of America, zwangerschapsverlof. Volgens de DGA moet je een bepaald bedrag verdienen per jaar om recht te hebben op een ziekteverzekering en dat haalde Dimmock niet.

In een open brief naar de regisseursgilde merkt ze op dat haar man, tevens een regisseur, geen hinder ondervond en dat vrouwen het sowieso al moeilijker hebben om de drempel te bereiken aangezien ze ondervertegenwoordigd zijn in Hollywood.

Ze doet dan ook een oproep om de inkomsten van pas bevallen vrouwen over een periode van achttien in plaats van twaalf maanden te berekenen.

“Op die manier krijgen nieuwe moeders de nodige tijd om voor hun kinderen te zorgen en te herstellen,” schrijft ze. “Bovendien zullen ze achteraf beter in staat zijn om hun werk en gezin te combineren.”

De brief werd ondertekend door ruim veertig vrouwen, waaronder regisseuses Elizabeth Banks, Lena Dunham, Ava DuVernay, Greta Gerwig, Alma Har’el, Brie Larson, Eva Longoria, Amy Poehler, Amy Schumer, Lena Waithe en Kerry Washington.

Lees de volledige brief hieronder:

To the Board of the DGA,

I joined the DGA in 2017 while co-directing the Netflix series ‘Flint Town’ with my partner. I was pregnant at the time and worked until the day I gave birth. However, after the birth of my daughter it was necessary that I take some time to care for her and recover physically. My partner was not faced with quite the same physical pressures. That first year, while my partner retained his yearly minimum, I did not. I needed to switch to Cobra with enormous monthly fees while he retained his healthcare. Because my directing partner is also our child’s father, I was able to see in such a clear way the ways that having a child impacted me and not him, even though we were similarly situated. Since then, I’ve spoken to other members of the DGA who have had similar experiences.

As it stands, the DGA offers no form of leave for women in the lead-up and following child birth. In order to retain benefits, all members must reach a yearly minimum. Women, being underrepresented in this field, are already at a disadvantage towards reaching these minimums. To state the obvious, directing is a rigorous, intensive endeavor, often taking place away from home. Pregnant women are not allowed to travel until their final trimester, putting them at a disadvantage from the start. Add to this the stigma of applying for directing jobs while visibly pregnant. Subsequently, women are penalized for having children in a way that their male counterparts are not. Failure to meet yearly minimums introduces economic and health care insecurity when it could be argued that it is needed most. And, importantly, a lack of maternity leave will continue to be an obstacle in achieving parity in the field of directing unless corrected. It is imperative that in this moment of such positive gains that we work to clear this obstacle.

Over the past several years major strides towards inclusivity have been made. The DGA diversity report released in November shows that women directing episodic television rose to a record of 31%, more than doubling the last five years. 2020 is forecasted to continue in this positive direction and it is both encouraging and timely that these changes are happening.

The right to maternity leave is part of an important national discussion and ranks as the most important benefit to workers. Implementing forms of maternity leave will increasingly become the norm, and this gives the DGA an opportunity to put their efforts behind their stated goals of gender equality and will provide a reputation boosting moment when implemented.

Here is our ask. New mothers should be afforded additional time to make their yearly minimum in the year that they give birth. This provides new parents the opportunity to take the time they need to physically care for their child as well as recover and recuperate. Women will return to their work better equipped to handle the challenges of balancing parenting and work and better equipped to delve into their future projects. This should apply for adoptive parents as well.

At its core, we know that this isn’t just about numbers. Numbers matter. They show us how great the gap has been. But ultimately, this is about spaces for stories that stretch beyond a single perspective.

Thank you for your attention to this matter.

Jessica Dimmock, Director

Alma Har’el, Director and founder of Free the Work

Brooke Posch, Partner at Jax Media

Lilly Burns, Director and co-founder of Jax Media

Bron: IndieWire