In April, Jane Campion become the third woman in the Oscars` 94-year-old history to take the Academy Award for best director for her critically acclaimed film 'The Power of the Dog.' The same month, Netflix shockingly revealed that the streaming giant had lost subscribers for the first time in a decade.&nbsp; 
 
Loosing 200,000 subs in the first quarter, Netflix high officers are doing multiple changes from bringing ads, to stopping account sharing. Amid all, the one thing that may affect the future of budding filmmakers is the Netflix decision to focus on bigger &amp; better movies as per THR, which means their focus on small and content-driven films will automatically shrink.&nbsp; 
 
Now reacting to all that, Campion during her interview with BBC, agreed that her&nbsp;western drama would have not been possible without Netflix, but also fears that Netflix's recent loss may affect the streamer's content also, as they are going to be more 'picky'&nbsp; 
 
Campion adds, "I do think they're going to be more picky about other projects or, maybe, what's sad is not taking risks on people without names." 
 
Further, she added that her film, "couldn't have been made" without the support of Netflix. 
 
So, whether the new changes will affect the OTT platform's relation with the director, reacting to which, Jane said, "I don't think it would be hard for me if I wanted to do something because I've established a relationship and they're incredibly loyal." 
 
The 'Power of the Dog' was the frontrunner of this award season, and got 12 nominations&nbsp;at&nbsp;the Academy Awards this year, but won just one golden trophy which Jane took home in the best director category. The film lost to 'Coda'. 
 
Reacting to the big snub, the director said, "With the Academy it seemed that Coda really captured the hearts of people. It was an easier film to understand and, you know, that's the way it went and I'm happy for them."

In April, Jane Campion become the third woman in the Oscars` 94-year-old history to take the Academy Award for best director for her critically acclaimed film 'The Power of the Dog.

In April, Jane Campion become the third woman in the Oscars` 94-year-old history to take the Academy Award for best director for her critically acclaimed film 'The Power of the Dog.' The same month, Netflix shockingly revealed that the streaming giant had lost subscribers for the first time in a decade. Loosing 200,000 subs in the first quarter, Netflix high officers are doing multiple changes from bringing ads, to stopping account sharing. Amid all, the one thing that may affect the future of budding filmmakers is the Netflix decision to focus on bigger & better movies as per THR, which means their focus on small and content-driven films will automatically shrink. Now reacting to all that, Campion during her interview with BBC, agreed that her western drama would have not been possible without Netflix, but also fears that Netflix's recent loss may affect the streamer's content also, as they are going to be more 'picky' Campion adds, "I do think they're going to be more picky about other projects or, maybe, what's sad is not taking risks on people without names." Further, she added that her film, "couldn't have been made" without the support of Netflix. So, whether the new changes will affect the OTT platform's relation with the director, reacting to which, Jane said, "I don't think it would be hard for me if I wanted to do something because I've established a relationship and they're incredibly loyal." The 'Power of the Dog' was the frontrunner of this award season, and got 12 nominations at the Academy Awards this year, but won just one golden trophy which Jane took home in the best director category. The film lost to 'Coda'. Reacting to the big snub, the director said, "With the Academy it seemed that Coda really captured the hearts of people. It was an easier film to understand and, you know, that's the way it went and I'm happy for them."

Jane Campion feels Netflix will be more picky about new projects after subscriber loss

'The Power of the Dog' director Jane Champion made a controversial comment at the 2022 Critics Choice Awards. 
 
While accepting the best director prize at the event, Champion honoured every woman present in the room and talked about how male-dominated the industry is, but singled out tennis superstars Venus and Serena Williams. 
 
“It’s absolutely stunning tonight to be here among so many incredible women,” the 'Power of the Dog' helmer started her speech for best director.

<a href="https://www.wionews.com/entertainment/critics-choice-awards-2022-see-the-full-list-of-winners-462028" hreflang="en">Critics Choice Awards 2022: See the full list of winners</a> 
 
''I’d also just like to give my love out to my fellow — the guys. And Serena and Venus, you are such marvels. However, you do not play against the guys, like I have to,” she said. 
 
However, later Champion apologized for a “thoughtless comment” she made toward tennis legends that stirred up backlash online. 
 
“I made a thoughtless comment equating what I do in the film world with all that Serena Williams and Venus Williams have achieved. I did not intend to devalue these two legendary Black women and world-class athletes,” she said in a statement to THR.&nbsp;

“The fact is the Williams sisters have, actually, squared off against men on the court (and off), and they have both raised the bar and opened doors for what is possible for women in this world. The last thing I would ever want to do is minimize remarkable women. I love Serena and Venus. Their accomplishments are titanic and inspiring. Serena and Venus, I apologize and completely celebrate you.”

<a href="https://www.wionews.com/entertainment/hollywood/news-tom-cruise%E2%80%99s-%E2%80%98top-gun-maverick%E2%80%99-to-screen-at-cannes-film-festival-462346" hreflang="en">Tom Cruise’s ‘Top Gun: Maverick’ to screen at Cannes Film Festival</a> 
 
Campion was the only female nominated in the best director category alongside Paul Thomas Anderson (Licorice Pizza), Kenneth Branagh (Belfast), Guillermo del Toro (Nightmare Alley), Steven Spielberg (West Side Story) and Denis Villeneuve (Dune). 
 
After winning best director trophies at different prestigious awards including Critics Choice Awards, Golden Globes, Directors Guild of America Awards and BAFTA Film Awards, she is viewed as the frontrunner to win the Academy Award. 
 
The Oscars will be announced Sunday, March 27.

'The Power of the Dog' director Jane Champion made a controversial comment at the 2022 Critics Choice Awards. While accepting the best director prize at the event, Champion honoured every woman present in the room and talked about how male-dominated the industry is, but singled out tennis superstars Venus and Serena Williams.

'The Power of the Dog' director Jane Champion made a controversial comment at the 2022 Critics Choice Awards. While accepting the best director prize at the event, Champion honoured every woman present in the room and talked about how male-dominated the industry is, but singled out tennis superstars Venus and Serena Williams. “It’s absolutely stunning tonight to be here among so many incredible women,” the 'Power of the Dog' helmer started her speech for best director. Critics Choice Awards 2022: See the full list of winners ''I’d also just like to give my love out to my fellow — the guys. And Serena and Venus, you are such marvels. However, you do not play against the guys, like I have to,” she said. However, later Champion apologized for a “thoughtless comment” she made toward tennis legends that stirred up backlash online. “I made a thoughtless comment equating what I do in the film world with all that Serena Williams and Venus Williams have achieved. I did not intend to devalue these two legendary Black women and world-class athletes,” she said in a statement to THR. “The fact is the Williams sisters have, actually, squared off against men on the court (and off), and they have both raised the bar and opened doors for what is possible for women in this world. The last thing I would ever want to do is minimize remarkable women. I love Serena and Venus. Their accomplishments are titanic and inspiring. Serena and Venus, I apologize and completely celebrate you.” Tom Cruise’s ‘Top Gun: Maverick’ to screen at Cannes Film Festival Campion was the only female nominated in the best director category alongside Paul Thomas Anderson (Licorice Pizza), Kenneth Branagh (Belfast), Guillermo del Toro (Nightmare Alley), Steven Spielberg (West Side Story) and Denis Villeneuve (Dune). After winning best director trophies at different prestigious awards including Critics Choice Awards, Golden Globes, Directors Guild of America Awards and BAFTA Film Awards, she is viewed as the frontrunner to win the Academy Award. The Oscars will be announced Sunday, March 27.

Jane Campion apologises for her harsh comment on Serena & Venus Williams at CCA 2022:  ‘I celebrate you’

Director Jane Campion is busy promoting her upcoming, Benedict Cumberbatch-led film <a href="https://www.wionews.com/entertainment/hollywood/news-the-power-of-the-dog-teaser-benedict-cumberbatchs-conniving-act-leaves-fans-hooting-409017">'The Power of the Dog'</a> at the coveted Venice Film festival 2021.&nbsp;

 
During a session, the director-actor duo reportedly discussed the recent success of female filmmakers and toxic masculinity, among other topics. Campion also talked her hopes for the role in film industry.

Also read:&nbsp;<a href="https://www.wionews.com/entertainment/bollywood/news-exclusive--anurag-basu-to-wion-ranbir-kapoor-alia-bhatt-are-my-favourite-actors-410635">Exclusive | Anurag Basu to WION: Ranbir Kapoor, Alia Bhatt are my favourite actors</a>

 
"All I can say is that, since the #MeToo movement happened, I feel a change in the weather. It’s like the Berlin Wall coming down or the end of apartheid for us women," she reportedly said.

 
"The girls are doing very well. But I still know the statistics are not in favour (of women)," Campion added.&nbsp;

Also read:&nbsp;<a href="https://www.wionews.com/entertainment/hollywood/news-no-one-can-understand-what-diana-endured-kristen-stewart-410598">No one can understand what Diana endured: Kristen Stewart</a>

 
<a href="https://www.wionews.com/entertainment/lifestyle/news-venice-film-festival-benedict-cumberbatch-sophie-hunter-seal-it-with-a-kiss-410518">Cumberbatch</a>, who plays a conniving man with a haunting whistle in the <a href="https://www.wionews.com/entertainment/hollywood/news-all-180-episodes-of-%E2%80%98seinfeld%E2%80%99-to-premiere-on-netflix-this-october-410267">Netflix</a> film, talked about his character. “As far as how it speaks to the message of toxic masculinity in the world. If you try to understand it and acknowledge it, that’s the only way to change it. You can’t just oppose it – that’s fuel on the fire.”

 
“You have to understand why these damaged people are causing damage to others and themselves. Whether that’s world leaders on the stage – strong men in politics who have risen again in recent times – or whether that’s something in your own life or culture. It has to be addressed and challenged but it also has to be understood. It’s not just about locking away the monster and throwing away the key. Otherwise it keeps recycling," he added.&nbsp;

Director Jane Campion is busy promoting her upcoming, Benedict Cumberbatch-led film 'The Power of the Dog' at the coveted Venice Film festival 2021. During a session, the director-actor duo reportedly discussed the recent success of female filmmakers and toxic masculinity, among other topics.

Director Jane Campion is busy promoting her upcoming, Benedict Cumberbatch-led film 'The Power of the Dog' at the coveted Venice Film festival 2021. During a session, the director-actor duo reportedly discussed the recent success of female filmmakers and toxic masculinity, among other topics. Campion also talked her hopes for the role in film industry. Also read: Exclusive | Anurag Basu to WION: Ranbir Kapoor, Alia Bhatt are my favourite actors "All I can say is that, since the #MeToo movement happened, I feel a change in the weather. It’s like the Berlin Wall coming down or the end of apartheid for us women," she reportedly said. "The girls are doing very well. But I still know the statistics are not in favour (of women)," Campion added. Also read: No one can understand what Diana endured: Kristen Stewart Cumberbatch, who plays a conniving man with a haunting whistle in the Netflix film, talked about his character. “As far as how it speaks to the message of toxic masculinity in the world. If you try to understand it and acknowledge it, that’s the only way to change it. You can’t just oppose it – that’s fuel on the fire.” “You have to understand why these damaged people are causing damage to others and themselves. Whether that’s world leaders on the stage – strong men in politics who have risen again in recent times – or whether that’s something in your own life or culture. It has to be addressed and challenged but it also has to be understood. It’s not just about locking away the monster and throwing away the key. Otherwise it keeps recycling," he added.

Venice Film Festival: Jane Campion feels a change in 'weather' since Me Too happened

Jane Campion`s 'The Power of the Dog', Pedro Almodovar`s 'Parallel Mothers' and Kristen Stewart`s turn as Princess Diana in 'Spencer' are among the titles vying for the top prize at this year`s Venice film festival, which runs September 1-11. 
 
The world`s oldest film festival, regarded as a showcase for Oscar contenders as awards season approaches, hopes to welcome back Hollywood celebrities this year after a scaled-down 2020 edition. 
 
New Zealand filmmaker Campion, known for 'The Piano', will present her drama starring Benedict Cumberbatch as a sadistic ranch owner who launches a campaign against a young widow, interpreted by Kirsten Dunst, in 1920s Montana. 
 
A Netflix production, 'The Power of The Dog' had been invited to screen out of competition at the Cannes festival but opted instead for Venice, which unlike its French rival does not demand a theatrical release for films vying for the top prize. 
 
Spain`s Almodovar reunites with one his favourite actresses, Penelope Cruz, in 'Parallel Mother', while 'Spencer', by Chilean director Pablo Larrain, film centres on a weekend in the early 1990s when Diana decided to separate from Prince Charles. 
 
They are among 21 films in the main competition, which include Maggie Gyllenhaal`s directorial debut 'The Lost Daughte', based on an Elena Ferrante novel, and the 'The Hand of God' by Paolo Sorrentino - one of five Italian titles seeking to scoop up the Golden Lion top award. 
 
Ridley Scott`s medieval epic 'The Last Duel', starring Matt Damon, Adam Driver and Ben Affleck, and Denis Villeneuve`s hotly anticipated science-fiction tale 'Dune', with Timothée Chalamet and Zendaya, will both premiere in Venice out-of-competition. 
 
Festival director Alberto Barbera hailed the return to the Lido waterfront of "of U.S. studios and of A-list stars who last year were a little wanting". 
 
He told a virtual news conference the quality of films this year was higher than usual, and the line-up featured several films lasting three hours or more, some disturbingly violent scenes and many stories with strong women characters. 
 
"It`s as if the pandemic helped stimulate creativity all around," he said. 
 
With contagion rates on the rise again, anti-COVID restrictions imposed last year will remain in place, including the capacity of festival theatres which has been halved to 4,000 viewers.

Jane Campion`s 'The Power of the Dog', Pedro Almodovar`s 'Parallel Mothers' and Kristen Stewart`s turn as Princess Diana in 'Spencer' are among the titles vying for the top prize at this year`s Venice film festival, which runs September 1-11.

Jane Campion`s 'The Power of the Dog', Pedro Almodovar`s 'Parallel Mothers' and Kristen Stewart`s turn as Princess Diana in 'Spencer' are among the titles vying for the top prize at this year`s Venice film festival, which runs September 1-11. The world`s oldest film festival, regarded as a showcase for Oscar contenders as awards season approaches, hopes to welcome back Hollywood celebrities this year after a scaled-down 2020 edition. New Zealand filmmaker Campion, known for 'The Piano', will present her drama starring Benedict Cumberbatch as a sadistic ranch owner who launches a campaign against a young widow, interpreted by Kirsten Dunst, in 1920s Montana. A Netflix production, 'The Power of The Dog' had been invited to screen out of competition at the Cannes festival but opted instead for Venice, which unlike its French rival does not demand a theatrical release for films vying for the top prize. Spain`s Almodovar reunites with one his favourite actresses, Penelope Cruz, in 'Parallel Mother', while 'Spencer', by Chilean director Pablo Larrain, film centres on a weekend in the early 1990s when Diana decided to separate from Prince Charles. They are among 21 films in the main competition, which include Maggie Gyllenhaal`s directorial debut 'The Lost Daughte', based on an Elena Ferrante novel, and the 'The Hand of God' by Paolo Sorrentino - one of five Italian titles seeking to scoop up the Golden Lion top award. Ridley Scott`s medieval epic 'The Last Duel', starring Matt Damon, Adam Driver and Ben Affleck, and Denis Villeneuve`s hotly anticipated science-fiction tale 'Dune', with Timothée Chalamet and Zendaya, will both premiere in Venice out-of-competition. Festival director Alberto Barbera hailed the return to the Lido waterfront of "of U.S. studios and of A-list stars who last year were a little wanting". He told a virtual news conference the quality of films this year was higher than usual, and the line-up featured several films lasting three hours or more, some disturbingly violent scenes and many stories with strong women characters. "It`s as if the pandemic helped stimulate creativity all around," he said. With contagion rates on the rise again, anti-COVID restrictions imposed last year will remain in place, including the capacity of festival theatres which has been halved to 4,000 viewers.

Jane Campion, Kristen Stewart's turn as Diana headline Venice film festival

Jane Campion's 'The Power of the Dog', Pedro Almodovar's 'Parallel Mothers'&nbsp;and Kristen Stewart's turn as Princess Diana in 'Spencer'&nbsp;are among the titles vying for the top prize this year's Venice film festival, which runs Sept. 1-11. 
 
The world's oldest film festival, regarded as a showcase for Oscar contenders as awards season approaches, hopes to welcome back Hollywood celebrities this year after a scaled-down 2020 edition. 
 
New Zealand filmmaker Campion, known for 'The Piano', will present her drama starring Benedict Cumberbatch as a sadistic ranch owner who launches a campaign against a young widow, interpreted by Kirsten Dunst, in 1920s Montana. 
 
A Netflix production, 'The Power of The Dog'&nbsp;had been invited to screen out of competition at the Cannes festival but opted instead for Venice, which unlike its French rival does not demand a theatrical release for films vying for the top prize. 
 
Spain's Almodovar reunites with one of his favourite actresses, Penelope Cruz, in 'Parallel Mothers', while 'Spencer', by Chilean director Pablo Larrain, film centres on a weekend in the early 1990s when Diana decided to separate from Prince Charles. 
 
They are among 21 films in the main competition, which include Maggie Gyllenhaal`s directorial debut 'The Lost Daughter', based on an Elena Ferrante novel, and the 'The Hand of God'&nbsp;by Paolo Sorrentino - one of five Italian titles seeking to scoop up the Golden Lion top award. 
 
Ridley Scott's medieval epic 'The Last Duel', starring Matt Damon, Adam Driver and Ben Affleck, and Denis Villeneuve's hotly-anticipated science-fiction tale 'Dune', with Timothée Chalamet and Zendaya, will both premiere in Venice out-of-competition. 
 
Festival director Alberto Barbera hailed the return to the Lido waterfront of "of U.S. studios and of A-list stars who last year were a little wanting". He told a virtual news conference the quality of films this year was higher than usual, and the line-up featured several films lasting three hours or more, some disturbingly violent scenes and many stories with strong women characters. 
 
"It`s as if the pandemic helped stimulate creativity all around," he said. With contagion rates on the rise again, anti-COVID restrictions imposed last year will remain in place, including the capacity of festival theatres which has been halved to 4,000 viewers.

Jane Campion's 'The Power of the Dog', Pedro Almodovar's 'Parallel Mothers' and Kristen Stewart's turn as Princess Diana in 'Spencer' are among the titles vying for the top prize this year's Venice film festival, which runs Sept.

Jane Campion's 'The Power of the Dog', Pedro Almodovar's 'Parallel Mothers' and Kristen Stewart's turn as Princess Diana in 'Spencer' are among the titles vying for the top prize this year's Venice film festival, which runs Sept. 1-11. The world's oldest film festival, regarded as a showcase for Oscar contenders as awards season approaches, hopes to welcome back Hollywood celebrities this year after a scaled-down 2020 edition. New Zealand filmmaker Campion, known for 'The Piano', will present her drama starring Benedict Cumberbatch as a sadistic ranch owner who launches a campaign against a young widow, interpreted by Kirsten Dunst, in 1920s Montana. A Netflix production, 'The Power of The Dog' had been invited to screen out of competition at the Cannes festival but opted instead for Venice, which unlike its French rival does not demand a theatrical release for films vying for the top prize. Spain's Almodovar reunites with one of his favourite actresses, Penelope Cruz, in 'Parallel Mothers', while 'Spencer', by Chilean director Pablo Larrain, film centres on a weekend in the early 1990s when Diana decided to separate from Prince Charles. They are among 21 films in the main competition, which include Maggie Gyllenhaal`s directorial debut 'The Lost Daughter', based on an Elena Ferrante novel, and the 'The Hand of God' by Paolo Sorrentino - one of five Italian titles seeking to scoop up the Golden Lion top award. Ridley Scott's medieval epic 'The Last Duel', starring Matt Damon, Adam Driver and Ben Affleck, and Denis Villeneuve's hotly-anticipated science-fiction tale 'Dune', with Timothée Chalamet and Zendaya, will both premiere in Venice out-of-competition. Festival director Alberto Barbera hailed the return to the Lido waterfront of "of U.S. studios and of A-list stars who last year were a little wanting". He told a virtual news conference the quality of films this year was higher than usual, and the line-up featured several films lasting three hours or more, some disturbingly violent scenes and many stories with strong women characters. "It`s as if the pandemic helped stimulate creativity all around," he said. With contagion rates on the rise again, anti-COVID restrictions imposed last year will remain in place, including the capacity of festival theatres which has been halved to 4,000 viewers.

Jane Campion's 'The Power of the Dog', Kristen Stewart's turn as Diana headline Venice film fest

Three years ago, Natalie Portman presented the best director category at the Golden Globes with a sting in her voice.

“Here are the all-male nominees,” she said.

This year, for the very first time, a majority of the directors in that category are women. It was announced last week that Chloé Zhao ('Nomadland'), Regina King ('One Night in Miami') and Emerald Fennell ('Promising Young Woman') will vie for the best director Globe alongside David Fincher ('Mank') and Aaron Sorkin ('The Trial of the Chicago 7'), and those same filmmakers may well hear their names again when the Oscar nominations are read March 15.

In a category that has historically overlooked female directors, this feels like progress. After all, only five women have ever been nominated for the best director Oscar, and if Zhao, King and Fennell all make it in, that number would nearly double in a single year.

But look a little closer, and there’s still a pernicious double standard at play: Fincher and Sorkin were given tens of millions to make their films, while the women had to make do with much less. 'Nomadland'&nbsp;cost under $5 million, 'One Night in Miami'&nbsp;was budgeted at $16.9 million and “Promising Young Woman” fell somewhere in between.

None of the five women previously nominated for the best director Oscar have had it any better: Jane Campion (“The Piano”), Sofia Coppola (“Lost in Translation”) and Greta Gerwig (“Lady Bird”) made their movies for $10 million or less, and Kathryn Bigelow’s budget for “The Hurt Locker” — a scant $15 million — is the most that a female nominee in this category has ever been given.

I don’t point this out to sound like a sad trombone in the Oscars’ orchestra pit, because when history is made during awards season, I believe it’s worth celebrating. This particular year could produce the most diverse lineup of Oscar nominees ever, as women and people of color are projected to make up the majority in several top races.

But I know it will be tempting for Hollywood to give out those laurels and then rest on them. For example, in a year that is almost certain to see nominated actors like Riz Ahmed (“Sound of Metal”), Viola Davis and Chadwick Boseman (“Ma Rainey’s Black Bottom”), Daniel Kaluuya (“Judas and the Black Messiah”) and Leslie Odom, Jr. (“One Night in Miami”), academy members may crow that #OscarsSoWhite is a thing of the past.

It isn’t that simple, and even this potentially landmark awards season still offers ample proof.

Just look at the Golden Globes’ most prestigious category, best drama, where none of the year’s major Black-led films were nominated. Not “One Night in Miami,” not “Ma Rainey’s Black Bottom,” not “Judas and the Black Messiah” and not “Da 5 Bloods.”

Or look to BAFTA, considered the British equivalent of the Oscars, and the group’s “longlists” for each category, released last week. Spike Lee’s Vietnam-vet drama “Da 5 Bloods” landed on nine of those longlists — including best film, screenplay, and editing — but Lee was pointedly left out of the group of 20 filmmakers nominated for best director. (If BAFTA voters were trying to send a message to Lee, did they realize the rest of the world was BCC’d?)

You could even look to last year, when “Parasite” made Oscar history as the first film not in the English language to win best picture but couldn’t earn a single nomination in the acting categories. Awkwafina and Zhao Shuzhen, hailing from a critics’ favorite, “The Farewell,” were similarly snubbed by the academy, and those exclusions led Vulture’s E. Alex Jung to write about “an old prejudice at work here that sees Asian people as technical workers.”

That’s why Jung felt that filmmakers like Bong Joon Ho and Ang Lee could win Oscars while the actors from their films were wholly overlooked, and it’s why I wonder about the ultimate fate of the forthcoming “Minari,” Lee Isaac Chung’s moving family drama starring Steven Yeun, Yeri Han and Yuh-Jung Youn. Even though a Korean movie has now won best picture at the Oscars, no Korean or Korean American actor has ever so much as been nominated. Can the actors of “Minari” break through those long-held biases?

Things look more promising at the Independent Spirit Awards, where “Minari” scored three acting nominations and was recognized in the screenplay, director and best feature categories, too. At this ceremony, which will be held days before the Oscars in April, the feature and director categories are exclusively made up of nominated movies directed by women and people of color.

But is that a road map for the academy to follow as it enacts new diversity guidelines, or is it a reminder of the limits that have already plagued this industry for far too long? To be eligible for the Independent Spirit Awards, a movie must be made for less than $22.5 million. During awards season, directors from underrepresented groups are rarely working with much more.

Zhao, King and Fennell may still make this year’s Oscar lineup, but what will happen next year, when even more expensive movies like Steven Spielberg’s “West Side Story” reenter the fray? Those films had the luxury of waiting out the pandemic for a more advantageous theatrical release, and the best director category could easily tilt back toward the sort of auteur-driven spectacle that men dominate and nominate.

No matter what happens this awards season or the next, voters should remember that progress isn’t simply secured — it’s something you have to keep reaching for. Back in 2014, there were people of color in most of the acting categories, Alfonso Cuarón (“Gravity”) won the directing Oscar, and Steve McQueen’s “12 Years a Slave” took best picture.

The very next year kicked off #OscarsSoWhite.

Three years ago, Natalie Portman presented the best director category at the Golden Globes with a sting in her voice. “Here are the all-male nominees,” she said.

Three years ago, Natalie Portman presented the best director category at the Golden Globes with a sting in her voice. “Here are the all-male nominees,” she said. This year, for the very first time, a majority of the directors in that category are women. It was announced last week that Chloé Zhao ('Nomadland'), Regina King ('One Night in Miami') and Emerald Fennell ('Promising Young Woman') will vie for the best director Globe alongside David Fincher ('Mank') and Aaron Sorkin ('The Trial of the Chicago 7'), and those same filmmakers may well hear their names again when the Oscar nominations are read March 15. In a category that has historically overlooked female directors, this feels like progress. After all, only five women have ever been nominated for the best director Oscar, and if Zhao, King and Fennell all make it in, that number would nearly double in a single year. But look a little closer, and there’s still a pernicious double standard at play: Fincher and Sorkin were given tens of millions to make their films, while the women had to make do with much less. 'Nomadland' cost under $5 million, 'One Night in Miami' was budgeted at $16.9 million and “Promising Young Woman” fell somewhere in between. None of the five women previously nominated for the best director Oscar have had it any better: Jane Campion (“The Piano”), Sofia Coppola (“Lost in Translation”) and Greta Gerwig (“Lady Bird”) made their movies for $10 million or less, and Kathryn Bigelow’s budget for “The Hurt Locker” — a scant $15 million — is the most that a female nominee in this category has ever been given. I don’t point this out to sound like a sad trombone in the Oscars’ orchestra pit, because when history is made during awards season, I believe it’s worth celebrating. This particular year could produce the most diverse lineup of Oscar nominees ever, as women and people of color are projected to make up the majority in several top races. But I know it will be tempting for Hollywood to give out those laurels and then rest on them. For example, in a year that is almost certain to see nominated actors like Riz Ahmed (“Sound of Metal”), Viola Davis and Chadwick Boseman (“Ma Rainey’s Black Bottom”), Daniel Kaluuya (“Judas and the Black Messiah”) and Leslie Odom, Jr. (“One Night in Miami”), academy members may crow that #OscarsSoWhite is a thing of the past. It isn’t that simple, and even this potentially landmark awards season still offers ample proof. Just look at the Golden Globes’ most prestigious category, best drama, where none of the year’s major Black-led films were nominated. Not “One Night in Miami,” not “Ma Rainey’s Black Bottom,” not “Judas and the Black Messiah” and not “Da 5 Bloods.” Or look to BAFTA, considered the British equivalent of the Oscars, and the group’s “longlists” for each category, released last week. Spike Lee’s Vietnam-vet drama “Da 5 Bloods” landed on nine of those longlists — including best film, screenplay, and editing — but Lee was pointedly left out of the group of 20 filmmakers nominated for best director. (If BAFTA voters were trying to send a message to Lee, did they realize the rest of the world was BCC’d?) You could even look to last year, when “Parasite” made Oscar history as the first film not in the English language to win best picture but couldn’t earn a single nomination in the acting categories. Awkwafina and Zhao Shuzhen, hailing from a critics’ favorite, “The Farewell,” were similarly snubbed by the academy, and those exclusions led Vulture’s E. Alex Jung to write about “an old prejudice at work here that sees Asian people as technical workers.” That’s why Jung felt that filmmakers like Bong Joon Ho and Ang Lee could win Oscars while the actors from their films were wholly overlooked, and it’s why I wonder about the ultimate fate of the forthcoming “Minari,” Lee Isaac Chung’s moving family drama starring Steven Yeun, Yeri Han and Yuh-Jung Youn. Even though a Korean movie has now won best picture at the Oscars, no Korean or Korean American actor has ever so much as been nominated. Can the actors of “Minari” break through those long-held biases? Things look more promising at the Independent Spirit Awards, where “Minari” scored three acting nominations and was recognized in the screenplay, director and best feature categories, too. At this ceremony, which will be held days before the Oscars in April, the feature and director categories are exclusively made up of nominated movies directed by women and people of color. But is that a road map for the academy to follow as it enacts new diversity guidelines, or is it a reminder of the limits that have already plagued this industry for far too long? To be eligible for the Independent Spirit Awards, a movie must be made for less than $22.5 million. During awards season, directors from underrepresented groups are rarely working with much more. Zhao, King and Fennell may still make this year’s Oscar lineup, but what will happen next year, when even more expensive movies like Steven Spielberg’s “West Side Story” reenter the fray? Those films had the luxury of waiting out the pandemic for a more advantageous theatrical release, and the best director category could easily tilt back toward the sort of auteur-driven spectacle that men dominate and nominate. No matter what happens this awards season or the next, voters should remember that progress isn’t simply secured — it’s something you have to keep reaching for. Back in 2014, there were people of color in most of the acting categories, Alfonso Cuarón (“Gravity”) won the directing Oscar, and Steve McQueen’s “12 Years a Slave” took best picture. The very next year kicked off #OscarsSoWhite.

It could be the most diverse Oscars ever, but the problem isn’t solved

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It could be the most diverse Oscars ever, but the problem isn’t solved