Phyllis Ellis, a Canadian filmmaker, writer and actor, has been working in Europe, Asia and Africa for the past 35 year. Nominated for the 2021 International Emmys and winner of Best Direction and Best Writing at the Canadian Screen Awards (CSA), her feature documentary “Toxic Beauty” has been viewed by over 44 million people worldwide. Ellis has won six CSAs, and was nominated to win best direction for her work in documentary, series writing, and performance. An Olympian, Ellis is dedicated to telling stories empowering women’s voices around the world.
“Category: Woman” is screening at the 2022 Hot Docs Canadian International Film Festival, which is taking place April 28-May 8. Find more information on the fest’s website.
W&H: Describe the film for us in your own words.
PE: “Category: Woman” is a story of women’s rights, athlete’s rights, and human rights, racism, sexism, and the remarkable champions from the Global South who have the courage to change the world of international elite sport. It is also about what happens when sport governing bodies target women athletes under the guise of fair play and protecting the “category.”
We look at the 80-year history of sex testing, policing of women’s bodies, and questioning of gender. The film shows how the athletes were humiliated and harmed, their gender is questioned, and their private medical records are leaked to international media.
While their sporting careers and lives are in danger, whistleblowers and activists, as well as experts, guide us through the long history of today.
W&H: What drew you to this story?
PE: I am an Olympian filmmaker. I was inspired to make this film after meeting Dr. Payoshni Mitria who is a remarkable activist who has supported these ladies for well over ten years.
Although I found their stories sad, we as a filmmaking crew were moved and inspired by their courage as champions.
W&H: What do you want people to think about after they watch the film?
PE: I want audiences and viewers to see these elite athletes, these women who are challenged at every level of their being and what they believe in. That’s what makes champions champions.
W&H: What was the biggest challenge in making the film?
PE: That’s a big question. The athletes are in a foreign film so they are far away from Toronto, Canada. Many athletes didn’t come forward with their stories until their private information was released to the world media. This was especially true for the beginning of the film, which was almost four years ago. It was difficult to engage international sport governing bodies in this narrative, but it became part of the adventure.
It was also challenging discussing this subject with my own friends who I competed with, who may have an opinion based on their perception of science or narratives that are repeated “in the main” about biomarkers that don’t define who we are or advantages we may or may not have as women competing in the category.
Sometimes, the subject of a film can make people angry or fearful, or it is difficult at first blush for them to articulate. However, I always went back and referred to human rights and the experts as well as the powerful, emotional stories of the women in my film.
And lastly, I am from the Global North, and while I could relate on many levels as an elite athlete, I had to find a navigatable path and move further away from any point of view of my own — because my own lived experience is completely different than most of the subjects of the film — other than receiving the learning and being present to their experiences.
W&H: How did you get your film funded? Please share your insights on how you got the film made.
PE: Canada is very fortunate to have a broadcast license system that supports documentary films. We were granted a broadcast license, which opens up other funding opportunities. This was the main source of financing. American Executive Production Company also contributed to financing the film.
W&H: What inspired you to become a filmmaker?
PE: I started my career in the arts in theater and television. I was invited to direct my first feature documentary film called “About Her,” about nine young women living with breast cancer. It was an honor to play a small role in their stories.
I thought it would combine my deep commitment to social-political women’s issues and my creative self and possibly contribute in some way to introducing or supporting important narratives.
W&H: What’s the best and worst advice you’ve received?
PE: Best advice: “Everything in this moment is as it should be and you can do anything and be anything you choose to be.” That’s from my mother.
The worst advice: “You have to always give more than 100 percent.” That was from an old coach when I was very young.
W&H: What advice do other women directors need?
PE: Well, I’m not sure I have advice. I will say that it is a remarkable choice we’ve made, to follow this career of directing films, and that you should always trust your first instincts: too many voices on your creativity can cause this horrible decision fatigue that can render the process impossible.
Take the lead and follow when it’s right. Collaborate and share the stories that are meaningful to you with other amazing people.
W&H: Name your favorite woman-directed film and why.
PE: I think “Harlan County, USA” by Barbara Kopple because it was both heart-wrenching and beautiful, and it was such a remarkable story of a community fighting to survive against the corporation.
W&H: How are you adjusting to life during the COVID-19 pandemic? Are you creative? If so, how?
PE: It was a challenge to finish a film during COVID-19, but that has kept me creative and busy throughout these difficult times.
However, I did feel challenged and it was difficult to work in an environment that is collaborative and in-person.
But it’s shifting and that’s very good for all of us.
W&H: The film industry has a long history of underrepresenting people of color onscreen and behind the scenes and reinforcing — and creating — negative stereotypes. What are your suggestions for making Hollywood and/or doc more inclusive?
That’s a great question, especially for me, as a white documentary filmmaker having just finished a film that supports and tells the stories of black and brown women from the Global South.
I was an Olympian when I first came across this story four years ago. I felt that there was common ground, that I could write and direct the film, and it was a natural impulse to continue. Four years later, we are proud of the film and have collaborated with many amazing women and people around the world. However, I wouldn’t choose to be the filmmaker of this story today.
If we want to ensure that filmmakers of color have the opportunity to be inclusive and equitable, then we should all be aware of what it means to be in a space that is not our lived experience or our story to tell.
We should all be working together and making the commitment to filmmakers of color in every aspect of our filmmaking.
To listen, and not to talk, even though I wanted answer the question.
Source: Women And Hollywood
