TT Stern Enge discusses this topic in more detail in this episode of The Cincinnati Edition.
I’ve been thinking and writing about what it means to be seen and heard for more than 20 years, and during that time I’ve seen the next generation of leaders and activists from diverse, underrepresented communities emerge to challenge the images that have come to define our culture and society.
“Nothing about us, without us” is a popular slogan among the disability community these days. As stories about the community progress, efforts are being made to ensure more representation in front of and behind the camera. A new report from the Inevitable Foundation featured in Variety (“Audiences Wait for Hollywood to Greenlight Disability”) found that “66% of audiences are not satisfied with the current representation of disability and mental health in film and television.” At the most basic level, 35% of people with disabilities watch more than 20 hours of TV per week (compared to 25% of non-disabled people who reach that level of engagement).
In these numbers, there is a clear and palpable demand. Audiences, big and small, are eager to find and support greater, more authentic representation of people with disabilities on screen. Additionally, film festivals and arthouse theaters are realizing they need to expand accessibility in their programming as well. In a recent Instagram post, FWD-Doc and Film Event Accessibility recognized the 2024 edition of the BlackStar Film Festival in Philadelphia for its efforts to create a more open and inclusive experience for all festival-goers. The festival will offer ASL interpretation at all panels and post-film Q&As, have open captions or subtitles for all in-person films, closed captions for all virtual films, and audio description will be available for select in-person and online film programs.
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As a film critic and festival organizer, I’m constantly learning from others in the industry, especially members of the disability community, and I’ve noticed that the challenge tends to start with the programming – the films and shows that are presented to us: What can we do to promote authentic and holistic portrayals of people with disabilities? Initially, I felt there were inherent limitations in production that allowed for documentary tropes, primarily disability-overcoming storylines, and didn’t allow for more honest exploration of disabled characters beyond the “Magical Negro” character long familiar to black audiences (think Rain Man).
I’ve been somewhat encouraged by new films like Netflix’s upcoming “The Remarkable Life of Ibelin.” The film, which premiered at the Sundance Film Festival in January, follows the life of a Norwegian gamer who has a degenerative muscular disease but manages to live a dynamic, vibrant life in “World of Warcraft.” The film does so through an animated second half that follows his interactions with other players from across Europe in the game’s world.
These fascinating examples inspire us to explore other challenging titles as Disability Pride Month draws to a close. The month celebrates the passage of the Americans with Disabilities Act in 1990, and is a great opportunity to shine a spotlight on the current state of the industry and, hopefully, where it’s headed going.
Coda (2021)
This film stands out as a huge win for me as an ally for disability rights. As the artistic director of the Over-the-Rhine International Film Festival in July 2021, I began reaching out to Apple TV+ with my team as soon as it was confirmed that they had acquired CODA during its premiere at Sundance. I saw the film and immediately knew it would be a great addition to their summer lineup. We were thrilled to acquire it as our closing night film on the Washington Park Lawn. Despite the pouring rain starting to fall about 40 minutes into the screening, we were able to provide virtual access to all ticket holders. Of course, we were lucky to capture photos and video of the crowd on the lawn enjoying the film before the rain hit. CODA closed out the year’s festival on a high note, three weeks before its streaming launch, and then went on to a fantastic awards season that concluded with three Academy Awards.
CODA is a remake of the 2014 French-Belgian film The Families of Belier. The film received backlash from the deaf community because two of the lead actors playing deaf characters were not actually deaf. The film was also not in official French sign language, which made it problematic for deaf audiences who could not understand sign language. While the original received numerous awards (it was nominated for six César Awards, winning one) and did well at the box office (it was the second highest-grossing film of the year in France), the remake, directed by Sian Heder, attempted to address the concerns of the deaf community more directly by starring Academy Award winners Marlee Matlin and Troy Kotsur (who later won an Academy Award for Best Supporting Actor).
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Two years after the film’s screening, I attended a panel about on-screen accessibility and listened intently to a speaker discuss CODA’s failure to fully represent deaf adult children, despite its best intentions. It was pointed out that Emilia Jones’ (playing the only deaf child in a family of four) signs would not be expressively authentic to someone who grew up surrounded by deaf sign language interpreters. This was a fact that, as a deaf person, I had never noticed, but it caused me to rethink the representation of such experiences on screen. This anecdote illustrates how representation is a journey that requires connection for fuller understanding.
Children of a Lesser God (1986)
The only way to follow the mixed success of CODA is to return to this gem from the mid-1980s. Director Randa Haynes’ powerful romantic drama details the relationship between a new speech teacher (William Hurt) at a school for the deaf and the deaf and mute janitor (Marlee Matlin) who purposely chooses not to speak. Matlin’s character’s agency was remarkable for its time, but her performance is timeless. Fiery and passionate, Matlin dominates the screen and her performance earned her an Oscar for Best Actress, the first time a deaf actor has won one. As a young movie fan, I remember the film well and how I felt watching Matlin. Her voice spoke to me viscerally. There was never a moment when I didn’t understand exactly what she was going through and how she was feeling. To me, it was and still is a benchmark for acting.
Daredevil (2015-2018 Netflix series)
Comic book fans know the story of Daredevil. By day, Matt Murdock is a blind lawyer who protects the downtrodden community of Hell’s Kitchen, New York City. By night, he’s Daredevil, a fearless man who fights crime on the streets. The son of shoddy boxer and occasional crimefighter Jack Murdock, Matt was blinded at a young age due to a toxic chemical that sharpened his other senses. After intensive training, Matt was able to become the greatest hero, despite not possessing traditional powers or abilities like superhuman strength, invulnerability, or flight. While Matt’s blindness cannot be truly portrayed authentically throughout his on-screen journey, Charlie Cox and the team behind the scenes of the series have created a version of the character that embraces the unlikely nature of his abilities with conviction and care, giving fans the high-octane action they expect from such a character.
The Netflix original series ran for three seasons and was made canon by Marvel after presumably tough negotiations, and is set to continue in a new Disney expansion (Daredevil: Born Again) in 2025 with Cox and most of the cast returning.
Echo (2024 Disney series)
Marvel once again attempts a story featuring a protagonist with a disability, adding a layer of intersectionality to round out the character and the story. The titular protagonist, Maya Lopez (Alaqua Cox), loses her criminally-minded father and is raised in the New York underworld by Wilson Fisk, aka Kingpin (Vincent D’Onofrio). Not only is Maya disabled and deaf, she’s also Native American, providing an inspiring justification for her mental strengths that go far beyond the rigorous combat training she received under the Kingpin.
It’s interesting how Marvel, being a major producer of comics, has created a number of characters that work well on paper but have obstacles that make them a bit more difficult to translate to live action. Cox embodies the character of Echo perfectly and proves herself more than capable of handling extensive fight choreography without a moment’s lag. Here’s hoping she’s seen as a model for future projects.
Rummy (2019-2022 Hulu series)
Starring Ramy Youssef, the series follows a young man living in New Jersey as the son of Egyptian immigrants, struggling to stay connected to his spiritual and familial roots as he navigates life in the United States. But what’s truly fascinating about Ramy is how naturally (and organically) diverse his friends and family are. Among this motley crew is Steve (Steve Way), a childhood friend who happens to be in a wheelchair and isn’t just there to show Ramy goodwill. Steve is just as rowdy and boisterous as Ramy’s friends. He’s part of the ensemble, and doesn’t feel like a mascot or a prop to further define the main character.
When talking about representation, at least on paper, this seems to be the goal, but such inclusion and depictions are rarely treated as fact as they are here. It is a testament to intersectionality that this operates within the larger context of Ramy’s journey as a Muslim and person of color in America today.
Atypical (2017-2021 Netflix series)
I was fascinated by Robia Rashid’s series in which Sam (Keir Gilchrist), a high school student on the autism spectrum, decides it’s time to find a girlfriend. By embarking on this quintessential journey of growing up, Sam (and the audience) realizes that his life, experiences, and perceived limitations may not be so different from those of others, especially his close friends and family. Through Sam’s perspective, we see the quirks and unusual traits of his family, and that these dysfunctions are not so unusual after all.
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As his life and the sense of freedom and independence he’s developing are revealed, it’s all contrasted with the deeply traumatic failures of his parents (Michael Rapaport and Jennifer Jason Leigh) and the ongoing problems facing his slightly more neurologically normal sister, Casey (Brigette Lundy-Paine). Though most interactions are rife with misunderstandings, the series is less of the over-the-top comedic mayhem one might expect. Instead, autism offers us all a window into reflection.