Cannes Attendees Decry Dismal Lack of Disability Access on Global Accessibility Awareness Day
FOR IMMEDIATE RELEASE
Los Angeles, CA and Cannes, France (May 19, 2022)
SUMMARY: Disabled filmmakers attending the 75th annual Cannes Film Festival (May 17-28), which has pronounced itself a “Festival For Everyone,” is, in fact, not.
Although some new efforts are being made, rampant inaccessibility is preventing disabled attendees from participating fully, a detriment to career advancement, the entertainment industry and cultural representation. This is particularly galling given the era of heightened social awareness and the timing Thursday, May 19, 2022 of the 11th annual observance of Global Accessibility Awareness Day.
Since arriving at Cannes, attendees have faced repeated assaults on equitable participation in the festival including:
The website for registration and tickets was down for days and doesn't meet minimum EU standards for web accessibility.
In-person registration window is 5' off the ground, requiring one to stand.
Access to kiosks or customer service requires one to stand.
Accreditation desks and computer kiosks are too high for wheelchair users to access.
Inadequate staff training on access, accommodations, or interacting with disabled patrons.
Inadequate signage for disabled filmmakers and others who require access accommodations.
No mapping of accessible routes to screening locations.
Screening reservation system says nothing about the availability of captioning or other accessibility options.
Inconsistent and therefore, unreliable use of “disabled” tags on badges to assist with accessible seating needs.
No clear signage for access to the Palais theaters, the Grand Lumiere and Debussy, without using stairs.
No transport between festival venues. They provide door to door transport for movie stars, but don’t offer any mobility assistance to those who need it.
Being shut out of prominent festivals such as Cannes prevents disabled filmmakers from key opportunities of career advancement. As the experiences of Cannes attendees such as filmmaker Victor Pineda and manager Eryn Brown illustrate, the festival is an indisputable example of the entertainment industry’s institutionalized and socially accepted practice of excluding disabled people. By failing to include disabled filmmakers, the entertainment industry is depriving itself artistically and financially. Not only does this eliminate the point of view of 20% of the world’s population, but it also has quantifiable business ramifications
Although companies in the entertainment industry compete to reach new audiences, they continue to ignore underserved disabled viewers. Estimates suggest this market to be $8 trillion of disposable income, making disability communities the 3rd largest economic power in the world - larger than the UK, Germany, and Japan (holding $13 trillion in disposable income globally when expanded to friends and family).
FWD-Doc and 1IN4, the organizations represented by Pineda and Brown, demand the following for the 76th festival in 2023:
A commitment to inclusion of all underrepresented groups, with a specific goal of accommodating disabled filmmakers and attendees.
All staff comprehensive access and inclusion training, specifically instructing festival staff on how to accommodate festival attendees with disabilities.
Prior to arriving at the festival, disabled attendees should be able to freely identify access needs and receive confirmation of those needs being met.
Clear information regarding with whom to speak and how to obtain access and accommodations should be prominent in all festival communications. Cannes must hire and/or publicize who is responsible for achieving these goals.
“Next year’s festival should be a sharp, vivid contrast to 2022’s lackluster response to the growing, ongoing outrage over the dismal lack of inclusion at Cannes. This isn’t complicated nor should it be difficult for anyone to understand,” said Oscar-nominated Director and FWD-Doc co-founder, Jim LeBrecht. “All we’re asking for are the same things our non-disabled peers routinely take for granted.”
“Every disabled festival-goer deserves a seamless, obstacle-free experience. The bottom line is Cannes, and every other festival, needs to provide that,” added Amanda Upson, Interim Director of FWD-Doc. “Minimal access standards were agreed on by the EU in 2019. Cannes has had years to modernize. We’re disappointed, but not surprised. One only has to look at the official festival poster as a symbol of the way access and disability are excluded from their consciousness. Enough lip service, it is long past time to implement meaningful changes and genuine accountability.”
Media Contact: Amanda Upson, hello@fwd-doc.org
About 1IN4: 1IN4 is an intersectional coalition of disabled creatives currently working in Hollywood focused on long-term institutional shifts to increase employment and authentic representation of disabled people. Now is the time – to employ disabled people, to tell authentic stories, and to ignite change for the 1.3 billion disabled people around the world. 1IN4 leadership includes: co-founders Eryn Brown, Sara Fischer, Elaine Hall, David Kurs, Andraéa LaVant, Jim LeBrecht, Stephen Letnes, Ryan O’Connell, Natasha Ofili, and Kaitlyn Yang.
About FWD-Doc: FWD-Doc (Filmmakers with Disabilities, www.fwd-doc.org) is a group of filmmakers with disabilities (FWDs) — and our active allies. FWD-Doc seeks to increase the visibility of, support for, and direct access to opportunities, networks, and employment for D/deaf, disabled, and neurodiverse filmmakers. We aim to foster greater inclusion of D/deafness, disability, and neurodiversity within the broader entertainment industry. FWD-Doc leadership includes: co-founders, Day Al-Mohamed, Lindsey Dryden, Jim LeBrecht, and Alysa Nahmias, and Interim Director, Amanda Upson.