WHAT’S IN A NAME? 

Cinegirl began as a space to amplify women’s filmmaking voices; now, evolving into CineVoices, it embraces a broader, more inclusive community shaping the industry’s future together. 

When I was approached to write this comment piece, I confess, it came with some hesitations as it felt like suddenly it would be up to me to tell Cinegirl’s journey. When it was never about me, never was, never would be. It’s about the community. It’s about you really.  

Cinegirl started simply: in an industry that often sidelines women, we wanted a space to spotlight brilliant, fierce filmmakers whose voices were rarely amplified. 

We showcased emerging female directors, cinematographers and screenwriters — not to exclude men, but to offer women a megaphone in a landscape that too often whispered. Our tagline, “female focused, not exclusive,” resonated as we built international visibility, made connections, encouraged talent and highlighted untold stories. 

The pandemic brought challenges, but it didn’t stop us. We refocused on human connection and launched Cinegirl Club, with incredible industry sponsorship for which we remaingrateful. 

It was around this time, through a simple chat with British Cinematographer’s Editor-in-Chief Zoe Mutter, that I was introduced to Stuart Walters and Sam Skiller, the publishers of British Cinematographer. What began as recognising a real synergy, and a shared belief in Cinegirl’s mission, soon developed into a wider alliance. As British Cinematographeritself evolved into far more than a publication – with a strong community and digital reach, Cinegirl grew alongside it. 

Over time, however, something began to shift. That shift wasn’t our commitment to equity, but in scale, horizons and the way we saw our role. The screen industry has changed— not enough, but it has — and so have we. That’s why Cinegirl is becoming CineVoices. And CineVoices will now sit within this ecosystem on the British Cinematographer website, as part of a shared journey and something we continue to build together. 

What feels far more interesting now is the shift towards something more grounded and inclusive — a feminism that isn’t performing for anyone. It feels closer to those quiet living-room conversations, where there’s no agenda, just honesty, contradictions and space to exist. A feminism that’s lived rather than packaged, open rather than prescriptive, and big enough to hold everyone without judgement.  

Therefore, CineVoices feels, to me, us as a team, like the natural next chapter. It honours where we came from, but more importantly, it reflects where we are now: a platform for every emerging filmmaker, regardless of gender, race, background or identity. Yes, those siloed conversations — the women-only roundtables, the gender-specific spotlights — still matter deeply. But now we have built a foundation strong enough to open the doors wider. 

Why? Because visibility isn’t just about who’s in front of the camera or behind it. It’s about building an ecosystem. We’ve learned that real change comes when we listen to every voice, when we include storytellers from every corner. It’s not a departure — it’s a continuation. There’s no dramatic “goodbye, Cinegirl”; rather, this is a transformation, a reimagining. 

Of course, with growth comes change. For now, we’re pausing our print edition while we reassess and refine. 

One of the things that struck me in this process was how the industry still compels change while resisting it. Take the USC Annenberg Inclusion Initiative’s 2024 report, which found some striking numbers proving that systemic change demands more than one voice. 

So that’s where CineVoices comes in. Not to dilute the original mission, but to scale it. I truly believe that together, our voices can move things forward. 

I loved turning every page of Cinegirl and imagining each issue landing in someone’s hands. My focus now is fully on my work as a publicist, which feels like a natural progression and one I’m truly loving. The magazine’s spirit lives on in CineVoices – leaner, more inclusive and more digitally agile. 

This next chapter feels courageous. It feels urgent. And it feels entirely aligned with why Cinegirl began: to lift voices that matter. Except now, we’re doing it louder.  

Thank you and welcome

To conclude, I want to acknowledge all the incredibly talented contributors who have made Cinegirl possible — without you, it would be nothing more than a logo with empty pages… thank you Adina Nelu, Anna Halasz, Ashleigh Ashley, Briony Puddepha, Carlotta Beck Peccoz, Chloe Lovatt, Denise Di Castro, Dr Jodi Nelson-Tabor, Elena Campo Sáez, Emma Carys, Hannah Drew, Jasmin Karlsson, Kasia Kaczmarek, Lauren Devine, Léa Aubigne, Louise Howland, Mila Fielker, Munnazzah Raza, Nic Roques, Oriana Gregorj, Sarah Scott, Sienna Beckman and Tom Watts.  

So, welcome to CineVoices. We’re just getting started.