Amid the fabulous dresses, flashing lights, and glittering parties, it’s easy to forget that the Cannes Film Festival is, at its core, a celebration of cinema. And with that celebration comes a vital question: whose stories are being told—and who gets to tell them? Too often, the films that make it to screen are filtered through the narrow lens of a creator’s nationality, wealth, or gender.
Founded in Los Angeles in 1973, Women in Film (WIF) was established to support the careers of women across the industry. Today, it has grown into a global force for change, expanding its advocacy to include nonbinary and trans creatives as well.
On a sun-drenched morning along the Promenade de la Croisette, a formidable group of filmmakers, executives, and philanthropists gathered at Ciro’s at the Hôtel Barrière Le Majestic for a conversation on access, equity, and artistry. Hosted by WIF and Vogue100, the breakfast salon took place in the nautical dining room—complete with striped banquettes and glossy mahogany walls—where guests discussed the week’s whirlwind of premieres and parties.
They dined on delicate mushroom omelets and picture-perfect avocado toast. Bowls overflowed with tropical fruit and local berries. Crystal jugs gleamed with fresh-pressed juices—most popular, given the hour, was a bracing green detox blend.
Following breakfast, WIF CEO Kirsten Schaffer moderated a dynamic conversation with three rising producers: Funmbi Ogunbanwo, Jessamine Burgum, and Leah Chen Baker. Ogunbanwo, a trailblazer in African cinema, produced My Father’s Shadow—the first Nigerian film ever selected for the Cannes Film Festival. Burgum, founder and CEO of Pinky Promise, is behind such acclaimed titles as The Starling Girl (2023) and The Last Showgirl (2024). She also helmed Eleanor the Great (2025), the directorial debut of Scarlett Johansson. Chen Baker’s bold new film, The President’s Cake, earned a coveted slot in the Directors’ Fortnight program.
“It’s a privilege and a blessing to have the first Nigerian film selected,” Ogunbanwo shared. “But I don’t want to be the only one. It’s not just about tokenism or representation—it’s about the opportunity to tell our stories and have them understood on a universal level.”
“I’m optimistic,” Burgum added, reflecting on the evolving industry landscape. “That’s not to downplay how hard it is to make a film right now—or the very real challenges of financing and distribution. But it’s precisely those pressures that create space for true innovation and disruption.”
