NYWIFT Blog

By Daryl Bright Clay

Welcome to NYWIFT, Cecilia R. Mejia! 

Cecilia R. Mejia was born and raised in Brooklyn, a first-generation Filipino-American. She has worked in development for several non-profit organizations, including NGOs affiliated with the United Nations. She’s worked with several grassroots organizations focusing on underrepresented communities, which lead to her working on a short documentary about the struggles of detained undocumented families, jumpstarting her film career.

Cecilia has produced a number of short films focusing on critical social impact issues like mental health and gender inequality. She’s won several awards as the lead producer for the upcoming Yellow Rose and as Social Impact Producer for the award-winning doc Call Her Ganda. She currently serves as the creative lead on several other projects working on the creative, funding and social impact components of films. 

Now, she is Vice President of External Affairs, American Documentary | POV.

Cecilia is combining her love of film with the goal of focusing on social impact stories that inspire change, most specifically with under-resourced youth through her non-profit organization Art of Me as creative director, helping students turn their stories into high-quality short films. She was recently featured in Forbes Magazine for her work.

She attended the State University of New York at Buffalo. She has a master’s degree in Public Administration and Affairs, and has completed the Columbia Business School’s Emerging Non-Profit Leaders Program.

Get to know her in our latest interview!

NYWIFT Member Cecilia R. Mejia (Photo courtesy of DOC NYC)

You have an impressive background in both nonprofit work and film production. Can you tell us about the pivotal moment in your career when you realized you wanted to combine these two fields to create social impact through film?

I’m not sure if there was an exact moment, but I definitely felt a strong pull to do both when I worked for an organization called Scenarios USA. The organization was embedded in education, arts and philanthropy, specifically around youth. We worked to bring student lead stories to life through film and back into the classroom. It was there when I truly felt the power of storytelling for both the storytellers and the audience.

All the films I’ve worked on have had really strong social impact components, but it wasn’t until the documentary Call Her Ganda, where I took on the role of an impact producer. Non-profit workers are essentially storytellers who bring important issues and causes to the forefront of change. It was really a natural progression for me to be able to see a world where I can do both.

Before joining AmDoc, you co-founded Remedias Productions, a company focused on social impact storytelling. What inspired you to start Remedias, and what are some of the key projects that have defined the company’s mission?

Remedias is a play on my middle name, Remedios and Media. Remedios is my late paternal grandmother’s name. I never met her, but from the stories I heard she was a leader in her community and was a strong advocate for education. It’s my version of a nod to her and the name I carry.

“Remedios” means “remedy” in Spanish. My personal belief is that we can utilize the power of film to create long-term, real, fundamental and essential change. That we can foster critical thinking, encourage empathy and build community through storytelling.

Who We Become is one of the more recent projects I’ve worked on through Remedias.

One of your key roles has been as a “Social Impact Producer.” Can you explain what this role entails, and how it differs from traditional producing? What do you see as the unique power of a social impact producer?’      

A Social Impact Producer is someone who looks at the potential societal impact a film can have and builds a campaign around that. In my view, an impact producer’s role is to see what the film can do in the world. This differs from traditional producing in that it’s less about the process of making the film and more about thinking about the effects of a film.

An impact producer can foster important relationships that can help bring films to audiences who need to see it. They can lead campaigns and movements that can lead to change.

What brought you to NYWIFT?

I’ve always known about NYWIFT. For the past decade, I’ve been really invested in my learning and experience in the industry. I felt like this was the right to join.

Can you talk about the process of developing and executing a social impact campaign around a film? What are the key components you focus on to ensure the film has a lasting impact beyond the festival circuit or theatrical release?

There’s no real standard process, but really it’s important to evaluate, assess, research and develop. It takes a lot longer than most people to think to really build an impact campaign. It’s key to assess the cultural environment – what’s happening in the world. It’s also key to understand how different audiences perceive the issues that are presented in the film. Are they aware of the issues? Are they exhausted by them? Who is doing the work around the issues. How can this film support that work? And vice versa.

For me, in order to have a lasting impact beyond the festival run and release, it’s important to find key partners who will use the film as a tool to elevate and support their work. So, essentially, it’s important to understand the change you want to make and identify your audience in order for that change to happen. In my experience, when a film finds that audience, it has a lasting impact and a longer shelf life.

You’re currently in development on a number of exciting projects, including Asog. Can you tell us about these projects and what makes them particularly important to you personally and professionally?

Living in the space of philanthropy, education and the arts, my professional and personal interests intersect a lot. I’m working and developing projects I feel tell an authentic story. Stories that feel personal, but also universal. Stories that challenge the dominant narrative, especially with all of the mis and disinformation out there. While it’s evident that there is distrust in the media, I find that people still believe in the power of film.

As an adjunct professor at NYU, you’re helping to mentor the next generation of filmmakers. What advice do you give to your students about making films that challenge traditional narratives and create social change?

My advice is simple: tell the story you want to tell. Tell it as authentically, as creatively, and intentionally as you can. Be passionate about the story, the issues, and educate yourself. Surround yourself with people who know about and can speak to the issues in the film. You’ll find the impact the film can have organically from there.

How do you envision the future of documentary film, especially in the context of social impact and diversity? What are some trends or shifts you hope to see in the industry in the coming years?

I hope to see more support for independent filmmakers not just financially but actual support to bring their films to a wider audience. I see a lot of push for digital, which expands the reach significantly and therefore the impact.

Connect with Cecelia on Facebook, Twitter, Instagram or the POV Community Network. & check out her work, POV and American Documentary.