female film director

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“You know that feeling when you see someone getting off a bus and their body language as they disembark… you can feel everything about that experience. I think we carry so much and communicate so much through our bodies. And there’s a really kind of guttural connection to that, as simple as seeing someone smile and wanting to smile. We share so much through small gestures that we make everyday and, for me, cinema is a language to express that because it can put you in the point of view of another body like no other medium. There’s traditional dance on film but I’m also interested in this other space, which is focused on just how we communicate, and how to express that through such a vibrant and living art form.”

Read: Tribeca alumnus Anna Rose Holmer talks to Matthew Eng about her gorgeous and psychologically-astute feature directorial debut, The Fits, now back at Metrograph for a limited time only!

I was chatting with a young (male) actor in the studio lot where my production office was based

After talking about the show he was working on he inquired if I was an Assistant on my film and said, “could you introduce me to the Producer of your movie? I’d love to meet him.”

I WAS the producer.

Originally posted by drunkbroadway

Sad Advice

While I was in film school we had a male Sound Mixer who was notorious for not following the direction of female students during their mix sessions. 

Another classmate (an Ivy League graduate with ultra liberal leanings) said, “just flirt with him and he’ll be easier to handle.”

It was what she “did all the time.”  

Ida Lupino in Road House  (Jean Negulesco, 1948)

“Of all the actresses associated with film noir, Ida Lupino (1918-1995) seems the most complex. Ms. Lupino could be as sultry and sassy as Lauren Bacall while projecting an aching vulnerability. As world-weary as Gloria Grahame, she never came across as fragile, particularly in her subsequent work as a director…. “Road House” may be Ms. Lupino’s defining vehicle.” - J. Hoberman, New York Times  

see full article in the NYTimes here

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As a director of 3 feature length movies, several TV movies and episodes, and 2 documentaries, Ava DuVernay is making a name for herself in the entertainment industry. She continues to break boundaries, make film history and inspire black, female filmmakers. Let’s face it, she really deserved that Oscar nomination.

Ava (2015), gouache on fabriano, now on redbubble!!!

“My hair is turning grey and there are lines on my forehead and two deep furrows between my eyebrows. I am glad that I am no longer a dreamer now that I am nearly thirty-two, even though being thirty-two years old means having used up and left behind thirty-two years of one’s allocation of life. But instead I have found myself.”

Discover the tragic yet inspiring story of the late, pioneering Iranian poet and filmmaker, Forugh Farrokhzad.

(source: asianoscarbait.com)

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Senegalese director Rama Thiaw photographed by Camille Millerand.

If we look at the film industry, 80% of it is dominated by white, older men. Then, there are few places for women in general, even white women. There are few places for black men, and a very small place for black women. But, there is a difference between Afro-American and African people. We are the niggers of the niggers on earth, that’s the problem. It is so true! So, as we are only a few, no one will take the risk to put a high budget on our films. This is the major problem we face nowadays. Films are related to an industry. We need money to make good films.

On the other hand, we have a problem of awareness because there are rich black people even in Africa. But the rich African people won’t put money in cinema or in culture because they don’t care. They prefer to put money in politics or to make much more money because they don’t care about our culture, about their own culture. So, we need to raise awareness, for the rich African people to invest and act like patrons of our culture.