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Seven Women Sevens Sins: An Exceptional Collaboration of ’80s Indie Women Directors

Made as part of series for German Television (ZDF) in 1986, Seven Women Seven Sins, proved to be an exceptional collaboration of 1980’s independent #DirectedByWomen cinema. Women's Film Preservation Fund co-chair Kirsten Larvick discusses the film's relevance in advance of its screening at The Quad on September 26th and 27th, 2018.

Terry’s Picks: Casting News, Women’s History, Boxed In

Casting News: Tony Award Nominee Eva Noblezada (Miss Saigon, Les Miserables) led the cast of Diane Paragas’ musical drama film Yellow Rose along with Tony Award Winner Lea Salonga (Once On This Island, Miss Saigon). The film, which wrapped production in Texas last month, received the NYWIFT Ravenal Foundation Feature Film Grant. Women’s History: This...

Terry’s Picks: Love Gilda, Bold Move, Emmy Nominations

Love, Gilda: Lisa D’Apolito’s acclaimed feature documentary Love, Gilda, about legendary comedian Gilda Radner, hits theaters nationwide on September 21st. The film was fiscally sponsored by NYWIFT. Bold Move: Beginning in 2019, works that do not demonstrate inclusivity in their production practices will no longer be eligible for the Outstanding British Film or Outstanding Debut...

7 Tips to Building a Successful Partnership to Create an Oscar-Nominated Film

In the inaugural conversation of NYWIFT’s new series Master Collaborations: The Power of Creative Partnerships on May 23, 2018, director Kahane Cooperman and producer Raphaela Neihausen opened up about how they worked together to create Joe’s Violin – and its road to being nominated for the Academy Awards.

Terry’s Picks: #SummerHours Series, Debra Granik, Darya Zhuk

#SummerHours Series: The NYWIFT #SummerHours blog series by members Mellini Kantayya and Kathryn O’Kane is back again this year with recommendations for your summer reading and watchlist. So far Kathryn has shared her thoughts on past NYWIFT Muse honoree Whoopi Goldberg’s latest book, and Mellini has created a list of bingewatch-worthy comedy picks. Debra Granik:...

Terry’s Picks: Sarah Paulson, Lisa Nishimura, Gina Duncan

Sarah Paulson: Ocean’s 8 reboot star Sarah Paulson debunks the theory that women can’t work well together. (Of course they can!) Lisa Nishimura: If you binged Making a Murderer, Wild Wild Country or any other recent Netflix documentary series, you have Lisa Nishimura to thank. Gina Duncan: Indiewire profiles Gina Duncan, associate vice president of...

AfriAmerican Immigrant Screening: Local Stories, Global Themes

In Astoria’s historic Kaufman Studios, filmmakers from the African diaspora shared local stories that reverberated deep into universal themes and questions as part of New York Women in Film & Television’s Women Filmmakers: Immigrant Stories screening on May 31, 2018. Featured in the fourth season of this NYWIFT series highlighting narrative and documentary films about the New York immigrant experience, these short films tackled issues ranging from the #MeToo movement, to President Trump’s travel ban, to the immigrant experience, to what it means to be American, among many more.

Terry’s Picks: Blockchain Technology, The Tale, Barbican Program

Blockchain Technology: The industry is abuzz with excitement – and questions – about Blockchain technology, so NYWIFT is holding a panel this Thursday to discuss its potential power for filmmakers. Member Heidi Philipsen also recently wrote a guest post for Women and Hollywood exploring the technology’s possible impact on indie filmmaking. The Tale: We are...

The Women’s Film Preservation Fund Crosses the Atlantic with 1970s Classics of Feminist Filmmaking

A year ago, an email arrived in our Women’s Film Preservation Fund mailbox from Tamara Anderson, Cinema Curator at the Barbican Centre in London, who had discovered our 2015 Carte-blanche series at MoMA, Women Writing the Language of Cinema. Would we curate a smaller series, focusing just on Second Wave Feminist films, for their multi-arts celebration Art of Change? What has resulted, Artists and Activists: Second Wave Feminist Filmmakers, will screen as a series over Saturday and Sunday, June 2-3 at the Barbican.

Exploring Family and the Individual Search for Self

NYWIFT WFPF Co-Chair Kirsten Larvick previews the eighth and final installment of the From the Vault: Women’s Advocacy on Film series, co-presented with UnionDocs. Two documentaries, Joe and Maxi and Anything You Want to Be, explore the nature of womanhood and identity within the contexts of family and society at large.

Report from Tribeca: Isabella Olaguera on AD’ing, Celeb Encounters and Breaking into the Biz at 14

New Jersey-based assistant director Isabella Olaguera has worked professionally on over 50 feature films, television shows and commercials since 2010 – including an Oscar-nominated short. She has every right to brag, but she’s been keeping a big secret: she’s only 20 years old! She may very well be the youngest member of New York Women in Film & Television. Isabella discusses her work as the 2nd AD on the indie feature film All These Small Moments, a coming-of-age tale shot entirely in NYC, which premieres at the Tribeca Film Festival this month.

Terry’s Picks: Love Gilda, Farewell Scandal, Harlem Summit

Love, Gilda: Congratulations to Lisa D’Apolito and her documentary Love, Gilda, which opened the Tribeca Film Festival to phenomenal reviews (and received an emotional introduction from Tina Fey). The film was fiscally sponsored by NYWIFT. Farewell Scandal: Last week we said goodbye to Shonda Rhimes’ groundbreaking series Scandal, which broke barriers, tackled controversial subjects, and...

Three unique and historic approaches to exploring gender on film

In their seventh program in the series From the Vault: Women’s Advocacy on Film, the Women’s Film Preservation Fund and UnionDocs present three significant films of the 1970s which consider ideas around gender in various contexts. WFPF Co-Chair Kirsten Larvick offers a sneak preview.

Camerawoman Angela Murray Gibson Films Herself into History, 1921-1925: Marsha Gordon and Buckey Grimm

Angela Murray Gibson, a silent era filmmaker receives due attention at Orphan Film Symposium’s line-up this April 11th – 14th, 2018 at the Museum of Moving Image. That Ice Ticket (1921), a recent NYWIFT Women’s Film Preservation Fund and Kino Lorber preservation, will screen on April 13th as part of the presentation, Camerawoman Angela Murray Gibson Films Herself into History, 1921-1925. Here, its presenters Marsha Gordon and Buckey Grimm offer some insights into this distinguishing filmmaker and her broader mark on American cinema.

Trailblazing through the Decades: Gina Prince-Bythewood (2000s)

In 2000, writer, director, and past NYWIFT Writers Lab mentor Gina Prince-Bythewood blazed a trail with her film Love and Basketball. Not only was the film a critical and commercial success, it won the Humanitas Prize and an Independent Spirit Award for Best First Feature.

Trailblazing through the Decades: Cheryl Dunye (1990s)

Twenty years ago a young artist set out to make a documentary about women like herself: black queer filmmakers. She found nothing but homophobia and omission, and then… inspiration. The resulting film The Watermelon Woman marked Cheryl Dunye’s 1996 debut – a hybrid of autobiography, documentary, and comedy. It defies categorization and was the first feature film directed by an African American lesbian.

Trailblazing Through the Decades: Jessie Maple (1980s)

Jessie Maple is the first black woman to join the union of International Photographers of Motion Picture & Television (IATSE) in New York. Her book, How to Become a Union Camerawoman , is an instructional guide illustrating the obstacles that she endured to get into the union. It details the court case she initiated to fight discrimination after she became a member.

Trailblazing Through the Decades: Ida Lupino (1950s)

British-American actress and producer Ida Lupino, got her start directing when the director of the 1949 film Not Wanted suffered a heart attack during pre-production. Lupino stepped in and shot the film guerilla style to keep the movie on budget and on schedule. Budgeted at just over $150,000, the film grossed $1 million, and Lupino’s reputation spread through Hollywood studios even though the original director retained credit.

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