Jennifer G. Robinson: Doing for Self — Women Of The Lens and the Power of Representation

Founded in 2017, Women Of The Lens Film Festival emerged from London’s independent film scene as a necessary corrective to the erasure of Black British women’s voices in cinema. Under the leadership of Jennifer G. Robinson, the festival has grown into one of the UK’s most vital platforms for women of color — a space that fuses curation, mentorship, and dialogue with a deep sense of cultural care.

Now entering its eighth edition, Women Of The Lens continues to champion diverse, intersectional storytelling that extends across the African diaspora — from the UK to the Caribbean, Africa, and beyond.

A BFMmag.com Filmmaker Interview with Floyd Webb

FW: Tell us what inspired you to create Women Of The Lens. Was there a defining moment when you realized that Black women’s stories were systematically left out of the film conversation?

JR: One of my bugbears was that whenever you mention Black women in film, the immediate thought is African American women. But there’s a whole history of Black women’s stories here in the UK that weren’t being told or valued.

I’d been festival coordinator for the BFM Festival back in 2015 when it was held at the Bernie Grant Arts Centre. That experience made me realize how much more could be done to consistently tell British stories — about identity, beauty, culture, and music — from a woman’s perspective. That’s what kick-started me into founding Women Of The Lens.

“It’s not about having the best equipment; it’s about intent.”

On Storytelling and Technology

FW: How has the festival evolved since its founding, especially with digital tools making filmmaking more accessible?

JR: The tools have democratized storytelling. I’m seeing filmmakers use whatever they have — phones, borrowed cameras — to bring their stories to life. It’s not about having the best equipment; it’s about intent.

We’re also seeing more political films, but in terms of filmmaking technique, I’d love to see stronger use of camera language — too often filmmakers frame stories like television soaps. I want to see risk, vision, and experimentation.

On Safe Spaces and Intimacy

FW: You’ve introduced workshops like The Role of the Intimacy Coordinator. Why that focus?

JR: Because storytelling involves responsibility. The intimacy coordinator ensures every actor and crew member is safe and consenting when filming sensitive scenes. It’s not just about sex scenes — it’s about trust. Every production, no matter the budget, deserves that level of care.

“Institutions can’t define your vision — you have to do for self.”

FW: How would you describe the current landscape for Black women filmmakers in the UK?

JR: Institutional support has really waned. Funding is scarce, and many filmmakers are stuck making shorts because there’s no bridge to features. People end up self-funding, doing favors, or relying on community collaborations.

It’s a paradox — London is full of talent, but also the most competitive for funding which is readily available. We also have to become more creative in how we access funding. That’s why I believe in doing for self. If we wait for institutions to see our value, we’ll be waiting forever.

On Global Connection

FW: The festival reaches across the Diaspora — from Africa to the Caribbean and beyond. How important is that global exchange?

JR: It’s everything. None of us are islands. We have similar struggles, but also unique experiences. I’ve screened films from Nigeria, Ghana, South Africa, India, Afghanistan — all showing women navigating culture, politics, and identity.

I’d love to take Women Of The Lens on tour — to Trinidad, to Ghana — to show that Black women in the UK have our own stories, too.

“The Diaspora isn’t a metaphor — it’s a living network of women telling their truths.”

Creating a Space of Care

FW: You’ve called Women Of The Lens a space for healing as much as for film.

JR: I want people to feel like they’ve come home. You shut the door, kick off your shoes, pour a glass of wine, have some cake, and exhale. It’s about safety — about being seen and heard. That’s the atmosphere I strive for.

“When you walk into Women Of The Lens, I want you to feel like you’ve come home.”

On AI, Authenticity, and the Future

FW: How do you see AI changing women-centered storytelling?

JR: We’re in an AI bubble — and it’s going to burst. Once the dust settles, the companies with deep pockets will dominate, and they don’t always have humanity’s best interests at heart. But that’s exactly why authenticity will become a premium. Real stories, told by real people, will matter more than ever. It’s why independent filmmaking, and telling human stories, with all the human idiosyncrasies linked to our stories, will be premium and vastly important

Sustaining the Vision

FW: Independent festivals often struggle with funding. How has Women Of The Lens sustained itself?

JR: In the beginning, I self-funded everything. Only in the last few years have we received any small institutional grants. But doing it yourself gives you creative freedom. I always tell new organizers: if you’re not willing to invest in your vision, no one else will.

“If you’re not prepared to risk something for your vision, why should anyone else?”

What’s Next

JR: I want to take the festival beyond London — to build partnerships with other women’s organizations across the UK and internationally. There’s incredible energy in other regions, and we’re ready to connect with it.

🎬 Closing Reflection

Robinson’s Women Of The Lens isn’t just a film festival — it’s a reclamation of space, story, and sisterhood. In a media landscape that still treats diversity as an initiative rather than a foundation, her work stands as a blueprint for creative independence and cultural integrity.
“We’ve been telling stories all along,” she says. “Now we’re telling them on our own terms.”

Follow the festival: www.womenofthelens.com

November 2025 Festival Tickets: 15th, 20th 21st 22nd November

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Filmfreeway Submissions: https://filmfreeway.com/WomenOfTheLensFestival