Gender equality

ARTE’s commitment to professional equality is reflected both within the company and in its programming. It involves:

An active policy to promote professional equality:

This policy is subject to different legal contexts, with German law applying to ARTE Deutschland, while French law applies to both ARTE GEIE and ARTE France.

Policy action focuses in particular on pay, appointments and promotions. The channel takes a proactive approach to promoting women in the company. As part of the professional equality agreements concluded with the unions, and in addition to the aim of approaching parity for top executives, ARTE’s commitments cover areas such as access to long-term training for women, as well as online or distance learning, and rolling out teleworking to provide a better work / family life balance.

In the field of pay, in order to eliminate unjustified gaps and apply the principle of “equal pay for equal work”, French regulations provide that every year companies with more than 50 employees must undertake a professional equality assessment based on the Gender Equality Index. The index was at the following level for the year 2021:

Gender Equality Index ARTE GEIE: 92/100
Gender Equality Index ARTE France: 98/100

Publication relating to the Decree of 8 January 2019 implementing the provisions aimed at eliminating the gender pay gap in companies and relating to combating sexual violence and sexist behaviour in the workplace

Combating sexual harassment and sexist behaviour:

ARTE GEIE has teamed up with ARTE France and some 20 public and private media companies to sign a Code of Good Conduct, under the aegis of the “Association For Women In the Media”, to combat sexual harassment and sexist behaviour. Under the Code, ARTE has undertaken:

  1. To inform all employees about what constitutes sexual harassment and sexist behaviour, and the penalties imposed on those who engage in such behaviour;
  2. To take action by putting in place listening and assistance arrangements for victims and witnesses of misconduct;
  3. To share good practice with other media companies that are signatories to the Code.


Setting up frameworks to promote gender equality and the presence of women in broadcast media:

  •  ARTE France’s Cinema Selection Committee is a joint equal representation committee and is particularly keen to improve the representation of women among our writers and directors.
  • ARTE’s Group Project includes the obligation to ensure a better gender balance in terms of the “experts” invited to take part in our programmes and the creatives who devise our programmes.
  • The programme of the European online film festival ARTE Kino Festival is based strictly on equal representation and ARTE supports the 50/50×2020 collective’s drive to achieve greater equality and diversity in the film sector in 2020.
  • The channel’s flagship daily programmes are mainly presented by women:
    • “ARTE Journal”:  Kady Adoum-Douass, Rebecca Donauer, Meline Freda, Dorothée Haffner, Annette Gerlach, Nazan Gökdemir, Carolyn Höfchen, Marie Labory, Anja Waltereit and Damien Wanner;
    • “28 minutes” on weekdays: Elisabeth Quin (by Renaud Dély at the weekend).
  • More generally, the majority of our programmes are anchored by women:
    • Mapping the World”: presented by Émilie Aubry following the death of its iconic presenter Jean-Christophe Victor;
    • “Invitation au Voyage“: Linda Lorin;
    • “Thema”: Émilie Aubry, Andrea Fies and Thomas Kausch;
    • ARTE Reportage”: Andrea Fies and William Irigoyen
    • “Vox Pop”: Nora Hamadi since autumn 2018;
    • “ARTE Journal Junior”: presented alternately by three women and two men (Jakob Groth, Dorothée Haffner, Stefanie Hintzmann, Magali Kreuzer, Frank Rauschendorf).
    • “Kreatur”, a feminist quarterly online magazine show, presented by Marie Labory and Rebecca Donauer.
    • “Twist”, presented by Bianca Hauda und Romy Straßenburg


A solid commitment to female creatives, directors and producers in terms of films that can give an insight into the conditions in which women around the world live, and better address stereotyping

  • Some of the channel’s recent awards are testament to this commitment: Anne Poiret (Mossoul, après la guerre – FIGRA Jury Prize 2020); Gabriela Sperl and Miriam Klein (The Love Europe Project – Grimme-Prize 2020); Maren Ade (Toni Erdmann – European Film Awards 2016); Maryam Ebrahimi (Stronger than a bullet – FIPA d’Or 2018); Barbara Miller (#Female pleasure – Romy Award for the best documentary film of 2019); and Agnès Varda (Visages Villages – Honorary Oscar for Agnès Varda).
  • In our documentaries, we deal in particular with the trauma experienced by the Nigerian women victims of Boko Haram in Les Survivantes de Boko Haram by Gemma Atwal. We analyse society’s view of the status of women in documentaries such as Femmes sans enfant, femmes suspectes by Colombe Schneck and Private Violence by Cynthia Hill on the subject of domestic violence. But ARTE also shows more positive examples, such as in the documentary Égalité, parité, volonté – Les femmes leaders by Marita Neher, which follows the path of three female executives, and 93Queen by Paula Eiselt, telling the story of New Yorker Rachel Freier, who braves the patriarchal laws of the Hasidic Jewish community.
  • Turning to fiction, examples include Manon 20 ans, which follows a young woman as she leaves a correctional education facility; Inspector Robin in season 2 of Top of the Lake; and Loulou – a web series that follows the ups-and-downs of a 29 year-old Parisienne. Filming is also currently underway for the second season of the Bad Banks series, devised and produced by Lisa Blumenberg. In homage to Claire Bretécher, ARTE showed all episodes of the cult series Aggripine.
  • In the cinema, with Mustang by Deniz Gamze Ergüven, which tells the story of five sisters who defy the patriarchy in a village set deep in the Turkish countryside; and Trois jours à Quiberon by Emily Atef, which paints a portrait of the actress Romy Schneider.