WIF, ReFrame, and IMDbPro are committed to highlighting and uplifting the work of women and non-binary directors, including those featured at the 2022 Sundance Film Festival. Please use this guide to help you plan your screening schedule!
I joined WIF as a Help Line Advocate in 2019, a year after getting my Master of Social Work degree. At that point in my life, I wasn’t sure if I wanted to be a therapist, a community organizer, or leave social work altogether to go into human resources. But when I came across the job posting for the WIF Help Line, I was intrigued. As I was still recovering from my own experience of harassment and discrimination in the workplace, I felt called to use my advocacy and social work skills to support the film and television community. I come from an entertainment family and know the challenges of trying to make it in the industry. I felt that with my personal and professional experience, I could support the WIF community in a meaningful way.
As a Help Line Advocate, I answer calls from people in the industry who are seeking support and referrals after experiencing sexual harassment and/or assault. Through this work, I learned that I had to be there for our callers in a way that was respectful of their own individual processes, which are so much more complicated and nuanced than the discussions that were being had in our society as the “Me Too” movement took off. Access to legal support can be important for a survivor or victim of workplace sexual harassment or assault, but it doesn’t address all of the ramifications of working in abusive and toxic environments. Callers share the deep emotional impact that their experiences have had on their sense of identity and the difficulty of being excluded and overlooked in a male dominated industry. Nearly every caller expresses a desire to change the industry culture, and a hope that others will never have to endure a similar experience.
There is strength in numbers, but only if those numbers form a community. I realized that we needed a place for WIF members and Help Line callers to come together and share the knowledge that we are not alone in our experiences of discrimination and abuse. WIF had already sponsored support groups for industry survivors through our partner organization, Wright Institute of Los Angeles (WILA), but the pandemic made it impossible to conduct support groups like we had in the past. We realized that we could go virtual. As a social worker with past experience leading group therapy, and experience as an anti-racist and social justice organizer, I realized I was in the right place at the right time.
Over the past year and a half I have led three Black Member Support Spaces, which focused on healing from racial trauma, two Coping in Quarantine Support Spaces, which focused on coping with personal and professional stressors during the isolation of the pandemic, and the Survivors in Community Support Space, wrapping this month, with survivors of sexual harassment and assault in the entertainment industry. So often in these groups, one member describes their feelings and everyone else emphatically jumps in with “me too.” In a way, this space is a deepened, more healing continuance of the “me too” dialogues that happened on Twitter and elsewhere on the internet.
In these spaces, we often have discussions about loss of trust, including loss of trust in colleagues, friends and family, and the system at large. But as the groups go on, week by week, members begin to heal that loss by building trusting relationships with each other. Members also share and shape their self-care journeys. Just last week in our Survivors in Community Support Space, we discussed non-traditional self-care activities and we got onto the topic how healing dancing can be. I left the session inspired and spent 15 minutes dancing alone in my living room. Next week, we plan on dancing together with our cameras off. Each session looks different, but every discussion is about figuring out members’ needs and how to meet them.
If you want to challenge isolation, connect to your voice, and build community, join the next Survivors in Community Support Space, starting in February. It is an 8-week group for women and non-binary workers who have experienced sexual harassment, assault, and misconduct in the screen industries. The group is limited to eight people so that we can give space to each member’s story. To find out more, please fill out the interest form. I look forward to hearing your story.
April 2 & May 6, 2022: 33rd GLAAD Media Awards NOMINEES
[Full list of nominees, including for television and other categories, available here.]
March 6, 2022: 37th Film Independent Spirit Awards NOMINEES
[Full list of nominees, including for television series, available here.]
February 27, 2022: 28th Screen Actors Guild Awards NOMINEES
[Full list of nominees, including for television series, available here.]
February 26, 2022: NAACP Image Awards NOMINEES
[Full list of nominees, including for television and other categories, available here.]
February 6, 2022: London Critics’ Circle Film Awards NOMINEES
January 9, 2022: 27th Critics Choice Awards NOMINEES
[Full list of nominees, including for television series, available here.]
January 9, 2022: 79th Golden Globe Awards
[Full list of winners, including for television series, available here.]
January 8, 2022: National Society of Film Critics Awards
January 7, 2022: 22nd AFI Awards
[Full list of winners, including for television series, available here.]
December 15, 2021: Chicago Film Critics Association Awards
November 29, 2021: 31st Gotham Awards
[Full list of winners, including for television series, available here.]
September 18, 2021: 46th Toronto International Film Festival Awards
September 11, 2021: 78th Venice International Film Festival Awards
We, the undersigned, support the protection of workers and their rights to safe workplaces, reasonable work hours and rest, and living wages. As advocates of people underrepresented and under-protected in the entertainment industry, it is imperative that we uphold safe and regenerative working conditions, especially as we all continue to weather the strain of the COVID-19 pandemic.
We encourage anyone who considers themselves a champion for representation and justice to stand with us in support of Hollywood crew members. Read and sign on to IATSE’s petition for a fair deal, and continue to support organizations fighting to make our industry safer for all people.
The Blackhouse Foundation
Brown Girls Doc Mafia
Film Fatales
Muslim Public Affairs Council – Hollywood Bureau (MPAC)
New York Women in Film and Television (NYWIFT)
Pop Culture Collaborative
Sundance Institute
Think Tank for Inclusion and Equity (TTIE)
Visual Communications
WIF (Women In Film)
Governors Award
Debbie Allen
Outstanding Comedy Series
“Ted Lasso”: Liza Katzer, Co-Executive Producer; Jane Becker, Supervising Producer; Jamie Lee, Supervising Producer; Tina Pawlik, Produced by
Outstanding Competition Program
“RuPaul’s Drag Race”: Mandy Salangsang, Executive Producer; Michele Mills, Executive Producer; Zoe Jackson, Co-Executive Producer; Lisa Steele, Co-Executive Producer; Michelle Visage, Producer; Alicia Gargaro-Magaña, Producer; Jen Passovoy, Supervising Producer
Outstanding Directing for a Comedy Series
“Hacks” (There Is No Line [Pilot]): Lucia Aniello, Directed by
Outstanding Directing for a Drama Series
“The Crown” (War): Jessica Hobbs, Directed by
Outstanding Drama Series
“The Crown”: Suzanne Mackie, Executive Producer; Oona O’Beirn, Producer
Outstanding Lead Actress in a Comedy Series
Jean Smart as Deborah Vance, “Hacks”
Outstanding Lead Actress in a Drama Series
Olivia Colman as Queen Elizabeth II, “The Crown”
Outstanding Lead Actress in a Limited or Anthology Series or Movie
Kate Winslet as Mare Sheehan, “Mare of Easttown”
Outstanding Supporting Actress in a Comedy Series
Hannah Waddingham as Rebecca Welton, “Ted Lasso”
Outstanding Supporting Actress in a Drama Series
Gillian Anderson as Margaret Thatcher, “The Crown”
Outstanding Supporting Actress in a Limited or Anthology Series or Movie
Julianne Nicholson as Lori Ross, “Mare of Easttown”
Outstanding Variety Sketch Series
“Saturday Night Live”: Lindsay Shookus, Producer; Erin Doyle, Producer; Caroline Maroney, Producer
Outstanding Variety Special (Live)
“Stephen Colbert’s Election Night 2020: Democracy’s Last Stand Building Back America Great Again Better 2020”: Tanya Michnevich Bracco, Co-Executive Producer; Denise Rehrig, Co-Executive Producer; Emily Gertler, Supervising Producer; Sara Vilkomerson, Supervising Producer; Paige Kendig, Producer
Outstanding Variety Special (Pre-Recorded)
“Hamilton”: Jill Furman, Executive Producer; Maggie Brohn, Executive Producer
Outstanding Variety Talk Series
“Last Week Tonight with John Oliver”: Liz Stanton, Executive Producer; Laura L. Griffin, Producer; Kate Mullaney, Producer; Catherine Owens, Producer; Marian Wang, Producer
Outstanding Writing for a Comedy Series
“Hacks” (There Is No Line [Pilot]): Lucia Aniello, Written by; Jen Statsky
Outstanding Writing for a Limited or Anthology Series or Movie
“I May Destroy You”: Michaela Coel, Written by
Outstanding Writing for a Variety Series
“Last Week Tonight with John Oliver”: Ali Barthwell, Liz Hynes, Joanna Rothkopf, Chrissy Shackelford, Seena Vali, Writers
Actress in a Short Form Comedy or Drama Series
“Keke Palmer’s Turnt Up with the Taylors”: Keke Palmer as Barbie / Gammy Tay / Lil Thad / Miranda / Rick
Casting for a Comedy Series
“Ted Lasso”: Theo Park, Casting by
Casting for a Limited or Anthology Series or Movie
“The Queen’s Gambit”: Ellen Lewis, Casting by; Kate Sprance, Casting by; Olivia Scott-Webb, Casting by; Tina Gerussi, Location Casting; Anna-Lena Slater, Location Casting; Tatjana Moutchnik, Location Casting; Stephanie Maile, Location Casting
Casting for a Reality Program
“RuPaul’s Drag Race”: Goloka Bolte, Casting by
Character Voice-Over Performance
“Big Mouth” (A Very Special 9/11 Episode): Maya Rudolph as Connie the Hormone Monstress
Contemporary Costumes
“Pose” (Series Finale): Analucia McGorty, Costume Designer; Michelle Roy, Assistant Costume Designer; Linda Giammarese, Costume Supervisor
Contemporary Hairstyling
“Pose” (Series Finale): Tene Wilder, Hairstylist; Lisa Thomas, Hairstylist
Contemporary Hairstyling for a Variety, Nonfiction, or Reality Program
“Saturday Night Live” (Host: Maya Rudolph): Jodi Mancuso, Department Head Hairstylist; Cara Hannah, Key Hairstylist; Inga Thrasher, Hairstylist; Amanda Duffy Evans, Hairstylist; Gina Ferrucci, Hairstylist
Contemporary Makeup (Non-Prosthetic)
“Pose” (Series Finale): Sherri Berman Laurence, Department Head Makeup Artist; Nicky Pattison Illum, Key Makeup Artist; Jessica Padilla, Additional Makeup Artist; Jennifer Suarez, Additional Makeup Artist
Choreography for Scripted Programming
Dolly Parton’s Christmas on the Square: Debbie Allen, Choreographer
Contemporary Makeup for a Variety, Nonfiction, or Reality Program (Non-Prosthetic)
“Saturday Night Live” (Host: Elon Musk): Amy Tagliamonti, Key Makeup Artist; Kim Weber, Makeup Artist; Joanna Pisani, Key Makeup Artist; Young Beck, Key Makeup Artist
Costumes for a Variety, Nonfiction, or Reality Program
Directing for a Documentary/Nonfiction Program
Dick Johnson Is Dead: Kirsten Johnson, Directed by
Documentary or Nonfiction Special
Boys State: Laurene Powell Jobs, Executive Producer; Nicole Stott, Executive Producer; Shannon Dill, Co-Executive Producer; Amanda McBaine, Producer
Exceptional Merit in Documentary Filmmaking
76 Days: Pluto: Jean Tsien, Produced by
Fantasy/Sci-Fi Costumes
“WandaVision” (Filmed Before a Live Studio Audience): Virginia Burton, Costume Supervisor
Guest Actress in a Comedy Series
“Saturday Night Live”: Maya Rudolph as Host
Guest Actress in a Drama Series
“The Crown” (48:1): Claire Foy as Queen Elizabeth II
Hosted Nonfiction Series or Special
“Stanley Tucci: Searching for Italy”: Eve Kay, Executive Producer; Amy Entelis, Executive Producer; Molly Harrington, Supervising Producer
Main Title Design
“The Good Lord Bird”: Abigail Fairfax, Illustrator/Animator
Music Supervision
“I May Destroy You” (Ego Death): Ciara Elwis, Music Supervisor
Original Music and Lyrics
“WandaVision”: Kristen Anderson-Lopez, Music & Lyrics
Outstanding Unstructured Reality Program
“RuPaul’s Drag Race Untucked”: San Heng, Executive Producer; Mandy Salangsang, Executive Producer; Jen Passovoy, Supervising Producer
Period and/or Character Hairstyling
“Bridgerton” (Art of the Swoon): Lynda J. Pearce, Assistant Department Head Hairstylist; Claire Matthews, Hairstylist; Tania Couper, Hairstylist
Period Costumes
“The Queen’s Gambit” (End Game): Gabriele Binder, Costume Designer; Gina Krauss, Assistant Costume Designer; Katrin Hoffmann, Assistant Costume Designer; Nanrose Buchmann, Assistant Costume Designer; Sparka Lee Hall, Costume Supervisor
Picture Editing for a Structured Reality or Competition Program
“RuPaul’s Drag Race” (Condragulations): Jamie Martin, Lead Editor
Picture Editing for an Unstructured Reality Program
“Life Below Zero” (The Other Side): Jennifer Nelson, Additional Editor
Picture Editing for Variety Programming
“A Black Lady Sketch Show” (Sister, May I Call You Oshun?): Daysha Broadway, Supervising Editor; Stephanie Filo, Editor; Jessica Hernández, Editor
Production Design for a Narrative Period or Fantasy Program (One Hour or More)
“The Queen’s Gambit”: Kai Karla Koch, Art Director; Sabine Schaaf, Set Decorator
Production Design for a Narrative Program (Half-Hour)
“WandaVision”: Sharon Davis, Art Director; Kathy Orlando, Set Decorator
Production Design for a Variety, Reality, or Competition Series
“Saturday Night Live” (Host: Kristen Wiig): Melissa Shakun, Art Director
Production Design for a Variety Special
“The Oscars”: Alana Billingsley, Art Director
Prosthetic Makeup
“The Mandalorian” (Chapter 13: The Jedi): Samantha Ward, Makeup Artist
Short Form Comedy, Drama, or Variety Series
“Carpool Karaoke: The Series”: Sheila Rogers, Supervising Producer; Diana Miller, Producer
Short Form Nonfiction or Reality Series
“Uncomfortable Conversations with a Black Man”: Morolake Akinosun, Producer
Single-Camera Picture Editing for a Limited or Anthology Series or Movie
“The Queen’s Gambit” (Exchanges): Michelle Tesoro, ACE, Editor
Sound Editing for a Comedy or Drama Series (Half-Hour) and Animation
“Love, Death + Robots” (Snow in the Desert): Dawn Lunsford, Foley Editor; Alicia Stevens, Foley Artist
Sound Editing for a Comedy or Drama Series (One Hour)
“Lovecraft Country” (Sundown): Paula Fairfield, Sound Designer
Sound Editing for a Limited or Anthology Series, Movie, or Special
“The Queen’s Gambit” (End Game): Mary-Ellen Porto, Sound Editor; Rachel Chancey, Foley Artist
Sound Mixing for a Comedy or Drama Series (One Hour)
“The Mandalorian” (Chapter 13: The Jedi): Bonnie Wild, Re-Recording Mixer; Shawn Holden, CAS, Production Mixer
Special Visual Effects in a Season or Movie
“The Mandalorian”: Abbigail Keller, Visual Effects Producer
Special Visual Effects in a Single Episode
“Star Trek: Discovery” (Su’kal): Aleksandra Kochoska, VFX Producer; Kristen Prahl, VFX Producer Ghost VFX; Leslie Chung, VFX Supervisor Crafty Apes
Structured Reality Program
“Queer Eye”: Jennifer Lane, Executive Producer; Jordana Hochman, Executive Producer; Rachelle Mendez, Executive Producer
Technical Direction, Camerawork, Video Control for a Special
Hamilton: Abby Levine, Video Control
Writing for a Nonfiction Program
The Social Dilemma: Vickie Curtis, Written by
The WIF Shorts Lab supported by Google will provide three filmmaking teams with grants of $30,000 and the support needed to produce a short film. Emerging writers, directors, creative producers, and line producers selected for the program will create a highly produced content piece to showcase their talent and advance their career opportunities.
Fellows in the program will be provided with practical support, mentorship, and guidance throughout the prep, production, and post phases of their project. Grants provided are also meant to cover resources needed to meet COVID-19 safety standards. Eligible scripts to be considered for the program should be set in the modern era and have occasion for characters to utilize the Google Assistant.
* Selected filmmakers must be available to meet all program dates and deadlines.
For additional questions not covered on this page, please contact programs@wif.org.
Mark your calendar for this month’s television premieres and film debuts, featuring women behind the scenes of the top creative roles.
(To be updated with premieres for the second half of the month!)
September is the biggest month of the year for television premieres, and some long-awaited film openings. We’ve got your viewing calendar for the month all set, highlighting the women behind-the-scenes of the top creative roles throughout the landscape of screens big and small:
Really Love, the new feature from director Angel Kristi Williams and co-writer Felicia Pride is a gorgeous evocation of the richness of Black love, culture, and urban life, via the story of Isaiah (Kofi Siriboe, “Queen Sugar”), a struggling artist, and the enchanting woman who changes his life, Stevie (Yootha Wong-Loi-Sing, THE PARADISE SUITE). Set in a gentrifying Washington, D.C., the film offers an incredible tapestry of music and art, from visual artists like Meleko Mokgosi and Chanel Compton to the songs of Ari Lennox and Kamasi Washington.
Read on for our interview with Williams, in which she discusses working with her director of photography on the color theory that informed the film’s palette, explains her process for connecting with her cast and crew on a story, and shares the Spotify playlist that kept her inspired during her creative journey.
This interview has been edited for clarity and length.
WIF: You’ve shared that this story had been with you for a long time, since you were—I think—seventeen. What was it, exactly, that you were most interested in capturing in this story?
Angel Kristi Williams: Yeah, well, I mean, one thing that I’ll say is that Felicia brought this love story to me. But my first experience with love was at the age of 17. So, what was important to me when Felicia and I decided to collaborate was, I sort of grew into that process. I had to become comfortable with being vulnerable enough to allow my own experience with love to be a part of the story. And once I fully allowed that to happen, that’s when the film got financing, that’s when I found my actors. That’s when, you know, everything just began to fall into place. But, you know, I think artists tell very personal stories, [but] there’s a wall that—especially when it’s about love and heartbreak—you don’t want to, you know, sort of put your business on front street.
But I learned that not being willing to do that was blocking the film and my process. And so the film really broke me open in some of the best ways. I walked away from production feeling like a new woman. What was important to me is to just show, like, Black people living and breathing and working and creating. And there’s no trauma; they’re just tying the space that they’ve created for themselves, that they feel facing. That, for me, was the most important.
WIF: What sorts of things were you saying to your department heads to convey what you were hoping to get out of the final project—whether it’s with the colors or the lighting or the music and the sound? Because it is so rooted in a look and a certain feeling.
AKW: We use color theory. I’m forgetting—I’m blanking on the artist’s name, but it was this psychology of color that my cinematographer, Shawn Peters, shared with me very early on. And the ironic thing was that when I read it, and it describes just how different colors embody different emotions and how you can use color to embody different emotions. I was unconsciously choosing those colors, not really realizing what they represented. And then once he shared that with me, then that became sort of the the language; that created our color palette.
WIF: Your cast received a special jury award for performances at SXSW. Can you talk a little bit about what you think characterizes the way you direct actors? What’s your approach?
AKW: The way that I approach working with actors in this film, Really Love, it really raised my bar in that regard because, just the level of trust that we all had across the board. I mean, there was just so much trust. And I’d like to, you know, build the world for the character, like even outside of what’s in the screenplay. So I made playlists; I sent them history on D.C. And in the film, Steve is a Howard alum, so I wanted her to really understand what it meant to be a Howard grad and what it meant to live in the city and what the culture felt like and what it looked like and what the language sounded like. So, I was trying to just give them so much, so that they could dig in and create these full characters. And so for me, process is about everything, everything that happens before you even get to set. And those conversations, just about character and story, and what’s important, I think really gave them the freedom and also allowed them to trust me that what we ended up creating was something that feels—I hope it will feel full for people, and rich.
WIF: How long did you actually have with the actors before you started filming? Did you have an extensive rehearsal period, a getting-to-know-each-other period with all of the cast?
AKW: Oh no, not at all. I mean, Kofi was still in production on Queen Sugar. So a lot of that work, it would happen in between setup. He would call me, we would FaceTime while he was in New Orleans. I was in Baltimore. We would just talk about character. I would send him Spotify playlists that he could listen to. Those conversations kept growing and building. Every time we had a conversation, we would continue where we left off. With Yootha, my producers made it happen, that she could come a few days earlier. So, she actually came from Amsterdam—I don’t remember how many days, but it was enough for her to like, go to a go-go and to stay in an apartment and see… you know, she had never been in D.C.
And it was really important to me, for her to at least plant her feet in the city and see what it felt like and what it smelled life. It’s an independent film, so you know, they are doing these things because they want to do that extra work. Not because we had all these resources to make that happen. But they were just really passionate about the process and what they needed to embody the characters.
WIF: Do you tend to work with the same crews often? Where are you finding people that you work with?
AKW: Yes, I’ve definitely loved working with the same people over and over and over again, like my producer Mel Jones. [Director of Photography] Shawn Peters; we hadn’t worked together until this project, but he and I have a lot of mutual friends and I was an admirer of his work. But yes, I have so many collaborators in Baltimore. I have a collective of artists that are in Baltmore. But this project also introduced me to my composer, whom I’m never gonna let go; my costume designer; my head of makeup, Ngozi [Olandu Young]. I remember calling her and I was like, “I’m coming to Baltimore. This project has no money.” I asked her to recommend someone and she was like, “I’ll do it.” And was like, “What?” You know? And we went to high school together in Baltimore.
I think that, as artists, we spend so much time creating work that, I think if you can have community in [that] work, that it just makes the process so much better. And I think that process is more important than the product, you know what I mean? For me, just having a particular kind of collaborators is like, number one, supreme for me.
WIF: Let’s talk about the music in this film and how crucial it is. How exactly do you work with your music supervisor or with your composer? Are you bringing songs to them, saying, “I want this song in particular,” or, “I just want something to sound like this; this is the kind of sonic landscape I’m trying to create here”?
AKW: So, I love music. I listen to music all day long. It’s such a huge part of my process that the reason that the playlist even exists is because when Felicia and I were still working on the screenplay, I needed music to help me imagine the film. I was listening to different things to turn to that mindset. But also it’s hard for me not to imagine what things sound like. I was trying to sort of figure out, well, what type of music does he listen to? What type of music does she listen to? What types of music would they listen to together? And what’s his music sound like when they make love for the first time?
For me, all of those things were important. And so they were in the screenplay. And so, when my music supervision team came on board, I shared with them the playlist, which is now ten hours long, because it was growing over the course of two years. And I still, you know, listen to that playlist.
It’s funny, some of the music that was on that playlist is in the film. I heard it, like many, many years ago. And then, of course there were things like, “Angel, we can’t afford this. We don’t have the budget for this.” My music supervision team was amazing in that they listened to that playlist. They read the screenplay and we had conversations. So they also brought so much new music to me. I was like, this is a D.C. story. Like, let’s get some local artists in here, you know what I mean? So we got, you know, Ari Lennox, April + VISTA, and Oddisee. People who are making great, great music, but also just kind of embody what it means to be from this particular place. The music is like one of the things that I’m the most proud of.
WIF: What was the process of taking the script to market and pitching it to places like MACRO, who ultimately said, “Yes, there’s a home for this here.”
AKW: One of my other producers, Aaliyah Williams, she and I were friends. We met through a mutual friend when I first moved to L.A. And she, at the time, was COO of Digital at MACRO. She was the one who walked the screenplay into MACRO. I was on the set of my producer, Mel Jones, who had created and was directed a web series that MACRO was financing and producing. I was on her set, shadowing her, and Aaliyah and I just started chatting and she was like, “What are you working on?” I was like, “I think I’ve found the screenplay that I want to be my first feature.” And she was like, “Well, what is it about?”
I said, “You know, it’s Love Jones meets Blue Valentine set in D.C.” And she was like, “I need to read that.” It was December, and you know, in December, like around the 15th, L.A. shuts down, and nobody’s coming back until like, the second week in January. So I hesitated to send the screenplay, but that next morning was a Saturday. I said, “Angel, send her the look book and send her the screenplay.” Thinking, she’ll get to it when she gets to it.
And on Sunday morning I had a voicemail and an email and she said, “So, I wasn’t ready to read the screenplay, but I looked at the look book and it was so dope that I said, ‘Let me just read, like, the first ten pages.'” She said, “I read the first ten pages and I couldn’t stop.”
She said, “What are we doing? We need to make this now.” And so she gave the script to Stacey King, Charles King’s wife, and she read it and told him, “You have to read it.” After he read it, it took him, I think, about two months, which was the most excruciating two months of my life. And he read the screenplay and asked Felicia and I to come in and pitch it. I left that meeting feeling full and feeling like that story was in me at that point. And the next day, I get a call and they’re like, “We have Charles King for you.” He gets on the phone and he said, “Never before have I been so impressed with a filmmaker’s vision for a project, and I’ve met a lot of filmmakers.” He said that MACRO wanted to fully finance this film.
And then we started the journey, and we were in production a year later.
Subscribe to our newsletter to stay up to date with our upcoming virtual events including Laptop Cinema Club, Conversations & Connections, the WIF Speaker Series, and more.
• Jan. 20: WIF | Sundance Institute Financing Intensive Applications Open
• Jan. 20: Sundance Film Festival – Maidenhood member chat in “The Lobby”
• Jan. 20: Sundance Film Festival – La Guerra Civil member chat in “The Lobby”
• Jan. 21: WIF | Sundance Institute Financing Intensive AMA
• Jan. 22: Sundance Film Festival – “Restoring the Future” panel incl. ReFrame Director Andria Wilson Mirza
• Jan. 23: Sundance Film Festival – To the End member chat in “The Lobby”
• Jan. 24: Sundance Film Festival – Brown Girls Doc Mafia & WIF Directors Artist Talk
• Jan. 24: Sundance Film Festival – Outfest panel “Partners in Work and Love—A Talk with AM I OK?” ft. ReFrame Director Andria Wilson Mirza
• Jan. 24: Sundance Film Festival – AM I OK? member chat in “The Lobby”
• Jan. 24: Sundance Film Festival – Just Another Girl on the I.R.T. member chat in “The Lobby”
• Jan. 24: Sundance Film Festival – The Janes member chat in “The Lobby”
• Jan. 25: Sundance Film Festival – Alice member chat in “The Lobby”
• Jan. 25: Sundance Film Festival – Brainwashed member chat in “The Lobby”
• Feb. 28: WIF | Sundance Institute Financing Intensive Applications Close
• March 8: WIF | The Black List Feature Writing Residency Applications Close
• March 31: WIF | The Black List Episodic Writing Lab Applications Open
