Welcome to NYWIFT, Seohee Lee!

Seohee is a filmmaker, content curator, and marketer working at the intersection of storytelling, cultural exchange, and audience engagement.

Based in New York, she works at the Korea Creative Content Agency New York Center, where she leads international marketing strategies and content-driven programs connecting Korean creative industries with global audiences.

Her work spans promotional video direction, film program curation, and large-scale cultural collaborations with institutions such as the Korean Cultural Center New York and the Consulate General of the Republic of Korea.

Seohee holds an M.F.A. in Film Directing and an M.A. in Arts Management from Carnegie Mellon University. Drawing on both creative and strategic experience, she focuses on enhancing the global reach of cultural storytelling and fostering cross-border dialogue through media and programming.

In our interview, Seohee Lee discusses her journey as a filmmaker and content curator, her work in international cultural programming, and the projects she hopes to explore next.

NYWIFT Member Seohee Lee

Welcome to NYWIFT! Could you give our readers a brief introduction to yourself?

Hi NYWIFT! My name is Seohee Lee. I’m a filmmaker, content curator, and marketing content creator, currently based in New York. I began my career directing films, working across narrative and documentary formats for 15 years, and over time became interested in how stories move beyond the screen—how they are shared, positioned, and experienced by audiences.

Now, I work at the Korea Creative Content Agency New York Center, where I lead the creative direction and production of content-driven projects and international collaborations. Alongside my professional work, I continue to develop my own creative practice and am currently writing a screenplay about a female dog walker living in New York, exploring everyday life, solitude, and urban relationships. As a content creator, I am committed to continuously creating and evolving my work across different formats and platforms.

What brought you to NYWIFT?

I was drawn to New York Women in Film & Television because it brings together women who are actively creating and shaping the industry.

As someone working across filmmaking and content creation, I wanted to be part of a community where creative work is shared, supported, and taken seriously. I value spaces where collaboration happens naturally, and where women can grow both as artists and professionals.

Seohee Lee on set during a production

What initially drew you to filmmaking, and how did your journey evolve to include both creative storytelling and arts management?

I was drawn to filmmaking from a very young age. My mother used to take me to independent cinemas, where I watched independent films and documentaries. Sometimes, I would fall asleep in the dark theater—but even then, I remember dreaming in images, as if the films stayed with me in a different way.

That experience stayed with me, and I eventually picked up a camera and began making my own documentary work. One turning point was when I received an award at an international film festival, where Im Kwon-taek—widely regarded as a master of Korean cinema—served as a jury member. That recognition gave me the confidence to continue pursuing filmmaking more seriously.

As I continued creating, I became increasingly aware of how challenging it is to sustain a career as an artist—not only creatively, but structurally. That realization led me to expand my path into arts management, where I could support artists and help create the systems, platforms, and opportunities that allow their work to reach audiences.

Now, I see my practice as existing between creating and supporting—continuing my own work as a storyteller while also contributing to a broader ecosystem that helps other artists thrive.

Seohee Lee on set during a production

Through your work at the Korea Creative Content Agency New York Center, how do you navigate connecting creators, cultures, and audiences across borders?

In my role at the Korea Creative Content Agency, I lead the creative development and production of marketing content that introduces Korean content industries to international audiences. This includes directing promotional videos, overseeing influencer-driven campaigns, and curating film screenings and cultural programs that contextualize Korean content for diverse audiences.

Beyond the creative aspect, I also manage the operational and administrative processes required within a government-affiliated organization—coordinating with multiple institutional partners, ensuring alignment with national initiatives, and supporting the execution of international programs.

Rather than only positioning content strategically, I’m directly involved in how it is created and experienced—shaping the narrative, visuals, and overall structure so that it resonates meaningfully across different cultural contexts.

Seohee Lee working on set

What has been the most fulfilling project you’ve worked on so far, and what made it special for you?

One of the most fulfilling projects I’ve worked on recently is a recurring screening series called KOCCA Spotlight. The series is designed to introduce different facets of Korean content to New York audiences. Last year, we focused on animation and drama, and earlier this year, I curated a documentary-focused program. It’s an ongoing series that we plan to continue developing in the future.

I’ve been involved in the project from start to finish—planning each program, curating the films, and shaping the overall audience experience. I also collaborate with external partners on visual and promotional materials, and serve as the on-site host, introducing the films and engaging directly with audiences.

What makes this project especially meaningful to me is that it brings together multiple aspects of my work. It connects my background in filmmaking with my role as a content creator and curator, while creating a space for audiences to experience Korean films in a thoughtful and engaging way.

Looking ahead, what kinds of projects are you most excited to explore?

I’m interested in expanding the possibilities of content creation and content programs—especially in formats that combine storytelling with new media and audience experiences.

I’m particularly drawn to projects that blur the line between film, marketing, and cultural programming, where content is not just promotional but becomes an experience in itself.

Ultimately, I want to continue creating work that is both visually compelling and culturally meaningful.

Connect with Seohee Lee on LinkedIn and learn more about the Korea Creative Content Agency New York Center at www.koreanculture.org.

(All images courtesy of Seohee Lee)

The post Meet the New NYWIFT Member: Seohee Lee appeared first on New York Women in Film & Television.

As the 25th anniversary of the Tribeca Festival shines a spotlight on bold storytelling and groundbreaking filmmakers, Violet Du Feng is arriving with not one, but two standout projects that are already generating conversation. The Emmy® Award-winning filmmaker and NYWIFT member serves as producer on TikTok Never Dies, featured in the festival’s Spotlight Documentary category, while Only the Lonely has been selected for the prestigious New York Times Op-Docs Showcase.

For Violet, whose work consistently explores the intersection of personal identity and larger societal shifts, the moment represents both creative growth and artistic alignment. Known for acclaimed projects including The Dating Game and the Oscar®-shortlisted Hidden Letters, Violet has built a reputation for crafting emotionally layered documentaries that connect intimate human experiences to broader cultural conversations.

This year’s Tribeca selections further highlight her ability to move between producing and directing while continuing to champion stories that challenge audiences to think deeper about technology, relationships, community, and the evolving world around us. From examining the human impact of social media and political tension in TikTok Never Dies to exploring loneliness and connection in Only the Lonely, Violet’s work reflects a filmmaker committed to meaningful storytelling that resonates far beyond the screen.

(Courtesy of Violet DuFeng)

What does having two projects included in this year’s festival mean to you personally and professionally?

Personally, it feels surreal because these two projects seem as different as they could possibly be on the surface, yet they are connected by the same question that deeply interests me as a filmmaker: what happens when larger systems begin shaping our most personal lives?

TikTok Never Dies looks at people caught at the intersection of technology and politics, where global debates around social media, free speech, and national security suddenly become deeply personal. Only the Lonely, on the other hand, explores loneliness, relationships, and social expectations — examining how broader cultural and social structures can shape something as intimate as our search for connection. To have both recognized at the same festival feels especially meaningful because it reminds me that stories can operate at very different scales while ultimately asking the same human questions.

Professionally, it’s also exciting because it reflects the different hats I wear as a filmmaker — producing and directing. It also reminds me that filmmaking, especially in the independent world, is such a collective effort. We’re all part of an ecosystem where we rely on others to lift us up, and where we also have a responsibility to support and create opportunities for others in return.

Still from TikTok Never Dies (courtesy of Tribeca)

TikTok Never Dies explores timely conversations surrounding social media, influence, and freedom of speech. What initially drew you to this story, and why did you feel it was important to tell now?

What drew me in wasn’t TikTok as a platform itself — it was the people. We’re living through a moment where social media isn’t just entertainment anymore; for many people, it’s identity, community, and livelihood.

When the possibility of a ban emerged, I became interested in what happens when geopolitical tensions suddenly become intensely personal. For many creators, this wasn’t an abstract policy debate. It affected careers, relationships, and how people imagined their futures.

I felt the story was important because we’re entering a period where societies are trying to answer difficult questions around technology, speech, security, and who gets to shape the digital public square. The film captures that moment through human experiences rather than through headlines.

I also deeply appreciated Director Hao Wu’s commitment to approaching the issue with nuance. In a time when public discourse can feel increasingly polarized, it takes courage to make a film that resists easy binaries and instead creates space for complexity. By giving thoughtful consideration to perspectives both supporting and opposing a TikTok ban, the film encourages audiences to move beyond immediate reactions and consider why people arrive at different conclusions. Ultimately, it invites a deeper conversation about the tensions between free speech, national security, and the future of our digital public sphere.

Still from TikTok Never Dies (courtesy of Tribeca)

As an Emmy Award-winning producer and filmmaker, what qualities or skills do you believe are essential to becoming a successful producer in today’s film industry?

I think being a successful producer today goes beyond simply making a great film. Of course, storytelling fundamentals still matter, but increasingly, a producer’s role is about identifying important stories that audiences need to engage with and then figuring out how those stories can find their audience in a rapidly changing landscape.

We’re in a moment where many meaningful independent stories struggle to find homes, while the market is often driven toward more commercially proven formats. But I also believe audiences still want stories that help them understand the world we’re living in — stories that challenge us, expand our perspectives, and capture the complexities of our time. The question becomes: how do we position these stories so they can meet audiences where they are, rather than expecting audiences to come to us?

That requires producers to think beyond traditional filmmaking skills. It requires understanding the market, anticipating shifts in audience behavior, finding new ways to create visibility, and building creative paths for these films to break through. I think producers today increasingly have to think like entrepreneurs — not only making films, but also finding innovative ways for those films to connect with the world.

Still from TikTok Never Dies (courtesy of Tribeca)

What inspired you to become involved with NYWIFT, and why do organizations like this matter for women working in film and media?

One of the things I’ve learned is that filmmaking can feel surprisingly isolating, even though it’s collaborative by nature. Organizations like NYWIFT create spaces where people can share experiences, mentor one another, and open doors that might otherwise stay closed.

I was drawn to NYWIFT because it’s not only about celebrating women’s work — it’s also about building a real professional community.

Representation isn’t just about who appears on screen; it’s also about who gets opportunities behind the camera and who has access to networks and resources.

Still from Only the Lonely (courtesy of Tribeca)

Many aspiring filmmakers dream of attending or screening at Tribeca one day. What advice would you give to first-time filmmakers navigating the festival experience?

My biggest advice would be: don’t just promote your film — build your community. I think it’s easy, especially for first-time filmmakers, to arrive at a festival with a checklist of goals: I need to find funders, meet buyers, get representation, or secure the next project. Those things can absolutely happen, but if you become too focused on specific outcomes, the pressure and anxiety can prevent you from fully experiencing what festivals are really about.

We all got into filmmaking because we love movies and because we love being around people who make them. Festivals like Tribeca bring together an incredible community of artists, storytellers, and audiences. Watch as many films as you can. Talk to people. Be genuinely curious. Some of the most meaningful opportunities often come from unexpected conversations — standing in line for coffee, after a screening, or meeting someone whose work simply inspires you.

I think the relationships you build often end up lasting much longer than any single deal or meeting. The film may bring you there, but the community is what stays with you.

With so many exciting accomplishments already this year, what else can audiences and supporters look forward to from you next?

I’m continuing to develop stories that sit at the intersection of personal experience and larger social questions. I’m interested in stories that feel intimate but also speak to broader cultural shifts.

Follow Violet Du Feng on her social channels at @violetfengdoc.

See TikTok Never Dies and Only the Lonely at the 2026 Tribeca Festival, running June 3-14. 

And check out all the other NYWIFT member projects at the 2026 Tribeca Festival. 

The post NYWIFT Member Violet Du Feng Brings Two Powerful Projects to the 25th Anniversary of the Tribeca Festival appeared first on New York Women in Film & Television.

For filmmaker, writer, and producer Juleyka Lantigua, storytelling has always been rooted in truth, history, and the voices too often left out of the conversation. Now, the award-winning creative and proud member of New York Women in Film & Television is bringing one of those powerful stories to the forefront as an Executive Producer and Co-Writer of The Lorraine, which will have its World Premiere during the 25th anniversary of the Tribeca Festival.

Through the lens of The Lorraine, Juleyka helps illuminate the legacy of the Lorraine Motel and the Bailey family, whose impact stretched far beyond the historic events forever tied to the Memphis landmark. The documentary explores Black excellence, resilience, entrepreneurship, music history, and the enduring fight for justice during one of America’s most turbulent eras.

As the Founder of LWC Studios, Juleyka has built a career centered on meaningful storytelling with social impact. Her work has earned national recognition, including a Peabody Award nomination for the acclaimed audio documentary series 70 Million, while her films have screened at festivals around the world. With The Lorraine now taking center stage at Tribeca, Juleyka continues to prove the importance of telling stories that preserve history, honor legacy, and inspire future generations.

NYWIFT Member Juleyka Antigua

Congratulations on The Lorraine being selected for its World Premiere during the 25th anniversary of the Tribeca Festival. What initially drew you to this powerful project, and why was it important for you to help tell the story of the Lorraine Motel and the Bailey family?

I learned about the Bailey family six years ago while editing and producing the documentary podcast Driving the Green Book for Macmillan Publishers. I was mystified that their incredible story is not as widely known as it deserves. Alvin Hall, an author and BBC correspondent who created the podcast, and I vowed to tell the Baileys’ story after we completed the audio series. After putting together a pitch deck, we shopped it around to potential studios and were very fortunate to have Submarine Deluxe embrace the vision for the feature documentary.

It’s important and necessary to tell this story because the Baileys did extraordinary work during Jim Crow in the heart of the segregated South. They built a thriving business, nurtured artists, civil rights leaders, travelers, and Memphis residents in ways that offered a respite from the daily humiliations of institutional racism.

Still from The Lorraine (Photo courtesy of 2026 Tribeca Festival)

As a Co-Writer and an Executive Producer, what was your creative and emotional experience like working alongside acclaimed filmmaker Sam Pollard on this documentary?

I learned so much while working with Sam on this documentary. He is a creative force who maintained a clear vision for the film from beginning to end.

The Lorraine highlights Black excellence, resilience, music history, and the ongoing fight for justice. What do you hope audiences take away from the film after watching it?

So much of what the owners and patrons of The Lorraine Motel endured still happens today, so I believe audiences will understand the need to reckon with the unhealed wounds our country has inflicted on so many people, past and present. I also hope they walk away inspired to spark the change necessary where they live and work by living a principled and justice-oriented life, as the Baileys did.

Juleyka Lantigua at The Lorraine

The Lorraine Motel holds such a significant place in American history beyond the assassination of Dr. Martin Luther King Jr. What surprised or impacted you most while researching and developing this project?

I visited the now National Civil Rights Museum at The Lorraine and was moved to tears by some of the spaces preserved from the original motel and key moments of our history. I sat in a bus similar to the one Rosa Parks sat in. I meditated for a few minutes inside a replica of the cell from which Dr. King wrote his “Letter from Birmingham Jail.”

I peered through glass at room 306, which has been kept exactly as he left it the day of his assassination. Many museum goers pray at this site, hold one another, and shed tears as they absorb the significance of the room where history and destiny collided almost fifty years ago. I felt blessed to be among them as I tried to pay homage to Dr. King, and stand in gratitude for his immense sacrifice.

Juleyka Lantigua at The NYWIFT Muse Awards

As a valued member of NYWIFT, what inspired you to become involved with the organization, and how has being part of the NYWIFT community supported your career journey?

I’m new to NYWIFT and joined because filmmakers I admire speak highly of the organization, praising its member support, industry advocacy, and its role as a beacon for women’s creativity and work in film and television. So far, I have mostly participated in online events, but look very much forward to meeting fellow members in person soon.

Many aspiring writers and producers dream of having their work showcased at major festivals like Tribeca. What advice would you give to creatives hoping to develop meaningful projects that resonate with audiences and reach that level?

Find a story that needs telling. Commit to telling it in the most undeniable way possible. Invite collaborators who believe in it as much as you do. Do not stop until it’s done, no matter how long it takes.

Beyond The Lorraine, what else can audiences look forward to from you next, and how can readers stay connected with you on social media or online?

I have another feature documentary making the festival rounds at the moment: Saving Etting Street (trailer), about Black women in Baltimore who are rebuilding entire neighborhoods one abandoned house at a time. It premiered at DOC NYC in September and has been selected for several festivals around the country. Folks can find me on LinkedIn or Instagram.

Connect with Juleyka Lantiuga on LinkedIn and follow her on Instagram at @juleykalantigua.

See The Lorraine at the 2026 Tribeca Festival, running June 3-14. 

And check out all the other NYWIFT member projects at the 2026 Tribeca Festival. 

More about Juleyka Lantigua:

Juleyka Lantigua is the Founder of LWC Studios, an award-winning digital media studio whose original work reaches rising audiences with programming that has a social-justice vein. As a filmmaker, she has executive produced three short films, including August Sun, which was nominated for a Student Academy Award and Student BAFTA; The Longest Race, a documentary shot during the Covid pandemic that followed two ultrarunners as they clung on to some semblance of normalcy. Her films have screened at national and international film festivals.

Juleyka just completed work on two feature documentaries–as co-writer/creator and executive producer on The Lorraine, which will have its world premiere at Tribeca Festival, and as executive producer on Saving Etting Street, which premiered at DOC NYC. LWC Studios received a Peabody Award nomination for 70 Million, an audio documentary series about criminal justice reform.

A Fulbright Scholar, she holds a Master’s in Journalism and an MFA in Creative Writing. Juleyka is an active member of Women in Film, New York Women in Film & Television, Brown Girls Doc Mafia, and The D-Word. She serves as a film screener for the New Orleans Film Festival and the Cordillera International Film Festival.

(All images courtesy of Juleyka Lantigua except where otherwise noted)

The post NYWIFT Member Juleyka Lantigua Brings The Lorraine to Tribeca Festival’s 25th Anniversary Celebration appeared first on New York Women in Film & Television.

Welcome to NYWIFT, Bonnie Gross!

Bonnie Gross is a multi-faceted filmmaker whose dynamic expertise has led to an acclaimed career in writing, producing, and post-production. 

Bonnie draws from personal experience and her natural aptitude for comedy writing to create narratives that are at once clever, boundary-pushing, and relatable. 

Her newest autobiographical film, Lady Parts – which has won numerous international awards – exemplifies her experience and talent. It is also a reflection of her mission to spread awareness for women living with vulvovaginal and pelvic pain, an experience that Bonnie personally lived through.

Based in New York City, Bonnie co-owns the NYC boutique finishing house Brainwomb and has worked on numerous media projects, television shows and films.

NYWIFT Member Bonnie Gross

Could you give our readers a brief introduction to yourself?

I’m an award-winning comedy writer, producer, and post-production pro who’s never met a taboo topic I couldn’t turn into a smart, comical, and relatable story. I have a passion for telling authentic stories that focus on the realities of living with chronic vulvovaginal and pelvic pain, which I know deserve far more screen time.

Originally from Philadelphia and now based in New York City, I earned a B.A. in Media Production from the University of Alabama and completed the UCLA Professional Program in TV Comedy Writing in 2018. My most recent film Lady Parts is an autobiographical comedy inspired by my own experience navigating the vulvovaginal health care world, which earned the Special Jury Award for Screenwriting at the Florida Film Festival and the Jury Award for Best Comedy Feature at the Austin Film Festival. 

I have worked for several years in post-production at Encore Hollywood and Light Iron, working on an array of television shows and films. I now co-own Brainwomb, a boutique finishing house in NYC where I partner with filmmakers to shape their stories at every stage of the post-production process

I have also written, produced, and edited comedic content for the media brand It’s a Southern Thing, and regularly create my own offbeat comedy videos for social media. In addition to my creative work, I serve as the social media manager and a campaign team volunteer for Tight Lipped, a grassroots advocacy organization by and for people with chronic vulvovaginal and pelvic pain.

I’m an insane Philadelphia Eagles fan, a dog lover, and traveled to over 25 countries and counting! 

At the heart of my work is a simple goal: to make people feel seen, understood, and maybe laugh at a speculum joke along the way.

What brought you to NYWIFT?

I’ve worked in post-production for over 10 years, and early on I became very aware of how male-dominated the industry could be. One of my first jobs was as a night coordinator at a post facility where, during my shift, I was the only woman among about 20 men. The funny part is that it wasn’t until I pointed it out that anyone even realized it.

While the industry has made strides, film and TV have long felt like a bit of a boys’ club. I’ve always wanted to do my part to change that. Media shapes society, but media is shaped by the people creating it. If women aren’t at the center of that process – from writers and directors to editors and producers – then we’re never going to see fully authentic representations of women on screen.

That gap felt especially personal to me. Growing up with chronic vulvovaginal and pelvic pain disorders, I never saw my experience reflected in film or television. It made it very clear that many women’s stories simply weren’t being told.

And while I’m a white woman who holds a lot of privilege, I’m also very aware that these barriers are even greater for BIPOC creators and storytellers. There are countless perspectives that still struggle to reach the screen.

When I crewed up my first feature, Lady Parts, I made it a priority to hire women in as many leadership roles as possible. I’m proud to say the film had women serving as writer, director, producer, executive producer, cinematographer, costume designer, editor, composer, and colorist. The set was collaborative, communicative, and incredibly creative – it proved how powerful these opportunities can be.

Joining New York Women in Film & Television felt like a natural next step. As I launch my own finishing company, continue producing, and begin writing my next feature, being part of a community of supportive, talented women feels essential to moving this work forward.

What has your experience been with incorporating taboo themes of women’s health into your projects? Have you encountered unexpected hurdles or reactions?

My experience with taboo themes in women’s health is, unfortunately, very personal. The story really began when I was 13 and too embarrassed to tell anyone that using tampons hurt. I assumed the pain was normal, so I just powered through it every month.

As I got older, the pain spread to just about everything from tight pants, riding a bike, pap smears, and of course sex. It felt taboo and shameful, so I did what many people do: smiled and pretended everything was fine while it felt like a hot knife stabbing me.

When I finally sought medical help, I ran into years of dismissal. Doctors told me the pain was normal or “in my head.” One even suggested drinking before sex while I was underage. After years of bouncing from doctor to doctor, I finally found a specialist in New York who diagnosed my vestibulodynia and vaginismus, or pelvic floor dysfunction. Right after college I had a vestibulectomy surgery and spent a year recovering with pelvic floor physical therapy.

The wild part is that 1 in 4 people with vaginas experience chronic vulvovaginal pain, yet it’s rarely discussed. We live in a society where even saying “vagina” can feel taboo.

At first, Lady Parts was just a blog post I wrote after surgery. People immediately reached out saying, “This is exactly what I’m dealing with,” or “My friend has this – can they talk to you?” That was the first moment I realized this wasn’t just my story.

I spent years pitching the project, but it seemed no one was ready to tackle a film about vaginal pain (shocking!). Eventually I got tired of waiting for permission or funding. If there’s no seat at the table, you bring a folding chair. So I emptied my life savings, started an LLC, and self-produced the film. With an incredible group of friends and collaborators, we shot in summer 2022 and finished post in 2023.

The reaction has been the biggest surprise. Festivals, especially in the South, where we expected pushback, sold out screenings with audiences eager for the conversation. One father came reluctantly, assuming the film wasn’t for him, and afterward thanked us because it helped him feel comfortable talking to his 9-year-old daughter about sexual health.

Of course, the hurdles were real. I usually say there were three phases. First was accepting that my very personal medical trauma was no longer private and is now searchable on the internet forever (yes dating the past years has been so fun with this as the first search). Second was reliving parts of it on set. One scene mirrored a moment from my own childhood so closely that I had to step out after the second take because it hit me so deeply. And the final hurdle was releasing the film into the world and realizing the story no longer belonged just to me – it belonged to everyone who saw themselves in it.

That’s the beauty of storytelling. It takes a huge, complicated health issue and makes it human and relatable instead of just a depressing list of medical statistics. Watching audiences feel seen for the first time makes the long days, sleepless nights, and frankly alarming credit card debt worth it.

And honestly, there’s something incredibly cathartic about laughing at your own trauma. Writing and making projects like this is part of how I’ve healed and how I stay sane in a chaotic world.

Tell us about Brainwomb. What was your motivation to create the business?

Ever wonder what happens between the locked cut and final delivery to places like Netflix, HBO, and Hulu? That would be the finishing!

We like to call ourselves the unsung heroes of post-production. 

Finishing is the final stage of post-production that polishes a project into its final professional and creative state by making final adjustments to visual and audio elements, adding titles and credits, and creating the final deliverable versions

For Brainwomb, this encompasses everything from conform, color, VFX work, and beauty enhancements. Basically, we do everything in between that is needed to give your project its final polish before the world sees it. 

Yes, finishing can seem very broad, but in essence we are the final step in the post-production process to get you everything needed for the best quality of your vision to screen. We put all the pieces of the puzzle together with your masterpiece and love getting to see a vision come to life. 

The idea for Brainwomb grew out of my time working as a producer at Light Iron, a Panavision company, where I worked on films like Babes, Ben & Suzanne: A Reunion in 4 Parts, and A Family Affair. That’s also where I met my now business partner, Keith Jenson.

From the start, we shared the same mindset: every project deserves the same level of care, whether it’s a short film, a scrappy indie, or a studio release. We also bonded over a love of creative problem-solving and figuring out smart, inventive ways to elevate a project no matter the budget or constraints.

That shared approach eventually led us to co-found Brainwomb, a boutique finishing company in New York City.

Our mission is simple: help filmmakers of all budgets and backgrounds bring their stories to life. Whether it’s a festival-bound feature, a documentary, or a passion project, we bring the experience and attention to detail needed to help filmmakers confidently cross the finish line.

Having won numerous awards and contributed to a vast catalog of work, what has been the most meaningful moment of your career thus far?

The most meaningful moment of my career so far has been screening Lady Parts at the Austin Film Festival. Never in a million years did I think a comedy about vulvas and family would make a splash on the festival circuit – let alone win the Jury Award for Best Comedy Vanguard Feature in 2024.

What made it even more meaningful is that my relationship with Austin actually started years earlier. In 2018, I submitted Lady Parts to the Austin Film Festival competition when it was still a TV pilot, and plot twist – it didn’t get in. Instead, they sent thoughtful feedback suggesting I rework the script into an indie feature and focus more on the relationship with the parents.

I really took that note to heart. In 2020, when I finally decided to bite the bullet and make the project myself, I reworked the pilot into what became the full-length feature. So premiering the finished film at Austin years later felt like a true full-circle moment and proof that the best writing is rewriting. 

As a total writing nerd and indie film lover, being there felt surreal. Attending the writers’ conference and sitting in on panels was already a dream, but things got even wilder when I was invited to give a 60-second pitch right before a panel for The Simpsons with showrunner Matt Selman. So there I was, on stage in front of 100+ people – and Matt Selman – pitching a story about my vulvovaginal pain. And yes… my parents were in the audience, front row.

While I was proud of the pitch, what meant even more was realizing how far I’d come. Long before the awards ceremony, just having the confidence to stand on that stage, share my story, and truly believe in it felt like the real win.

After earning a degree in Media Production, what compelled you to pursue the path of comedy writing? 

I think I was always a comedy writer – I just didn’t realize it at the time. Some of my earliest school assignments included pieces like “The Story of Paul Revere from the Horse’s Perspective” and “T-Shirt Cannon at the Britney Spears Concert.” Looking back, it’s pretty clear I was happiest when I was writing something a little weird and a little funny.

Like many people, I process difficult experiences through humor. Comedy has always felt like a universal tool for taking something painful and making it a little more digestible. As I got older, I realized that humor kept finding its way into everything I wrote. It became a cathartic part of the process.

You see that balance in so many great works, even in Shakespeare, where tragedy and comedy exist side by side. For me, the most interesting moments are when those lines blur and both are happening at once.

Comedy became the storytelling tool that lets me explore difficult or taboo topics while still keeping audiences engaged. It allows you to make a point, start a conversation, and maybe even help someone feel a little less alone.

At the end of the day, comedy helps me heal, and storytelling helps me heal – so comedy writing felt like the natural way to bring the two together.

Are there any personal projects you’re currently working on, or hope to work on in the future?

Lady Parts just launched its 2026 theatrical run with the Lady Parts Road Show. Over the next few months, we will be hosting community screenings across the country, featuring expert sexual health panels, filmmaker Q&As, and special events in partnership with local communities. We will be bringing women’s health conversations to the big screen in a fun, engaging, and educational way. Be on the lookout for more dates announcing soon along with streaming information as well. Information on screenings and events can be found here: https://linktr.ee/ladypartsfilm 

My next feature will likely continue what I jokingly call my “vulvovaginal and pelvic pain brand.” I’m drawn to telling deeply personal stories that also open up conversations about women’s health.

The tentative title is The Woman in the Wallpaper, loosely inspired by The Yellow Wallpaper by Charlotte Perkins Gilman. Much like that story, and works like The Bell Jar by Sylvia Plath, the film explores how women’s medical concerns have historically been dismissed as hysteria.

Although “hysteria” was removed from the Diagnostic and Statistical Manual of Mental Disorders in 1980, its legacy still lingers in modern medicine. For example, about 75% of women in the U.S. will experience a yeast infection, leading to roughly 1.5 million medical visits each year, yet there haven’t been major new treatments developed in over 50 years.

The project is also rooted in my own experience. I dealt with a chronic yeast infection for nearly three years, and when Fluconazole (the leading antifungal treatment) failed, I found myself stuck in a frustrating cycle where doctors and partners insisted nothing was wrong. It was isolating and, at times, made me feel like I was losing my mind.

Through this film, I hope to explore how those historic narratives around women’s “hysteria” still echo today, using dark humor and personal storytelling to make a complicated and often overlooked health issue more visible and a little less lonely.

Connect with Bonnie Gross on Instagram at @shake_ur_bonbon, on her website www.bonnie-gross.com, and check out the latest on her film Lady Parts @ladyparts_film and www.ladypartsfilm.com. To learn more about her finishing house, visit @brainwomb or www.brainwomb.com.

(All photos courtesy of Bonnie Gross)

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Welcome to NYWIFT, Jessica Heyman!

Jessica is the Founder and Director of Art for Film, a Brooklyn-based company that connects the art world with the film and television industry by providing high-quality, legally cleared artwork for productions.

A New York City native, Jessica studied at Barnard College before pivoting from work in social justice and education to the film industry, where she recognized a gap in the market for cleared artwork in New York productions and went on to found Art for Film.

Since launching the company in 2006, she has built Art for Film into a trusted resource for set decorators and creative teams, representing a diverse roster of more than 100 artists and placing artwork in thousands of films, television shows, and commercials, including Succession, Mean Girls, and Only Murders in the Building.

In our interview, Jessica discussed her path in the film and art worlds, her commitment to artist advocacy, and lessons from building a women-owned business.

NYWIFT Member Jessica Heyman

Welcome to NYWIFT! Could you give our readers a brief introduction to yourself?

I’m the Founder and Director of Art for Film, which—hard to believe—I launched 20 years ago this fall!

I was born and raised in Manhattan, with some formative middle and high school years in Oakland, California, where I grew up in the counterculture in a community of activists, writers, intellectuals and artists. I was hellbent on getting back to New York City, so I attended Barnard College, Columbia University (where I made some dear friends who are also NYWIFT members).

After living in Spain for a couple of years, I worked in social justice, philanthropy, and education, but as water finds its own level, I eventually made my way to working in film.

While working in the art department of the Disney film Enchanted, I saw that the set decorators had difficulty getting cleared art, especially in New York City, and I realized that I could help to fill this hole in the market, and serve as the bridge between the art and film worlds. The rest is history.

Jessica Heyman at Art for Film

What brought you to NYWIFT?

As a women-owned and operated company, I firmly believe that it is important for women to create strong networks to support and encourage one another, to develop and mentor the next generation, and to collaborate and learn from each other. Now, more than ever.

Jessica Heyman at Art for Film

You launched Art for Film after recognizing a real need within the art department while working on set. What were some of the early challenges of building the company, and what helped you persevere in those early years?

I was very fortunate that when I launched the company in 2006, New York City had just started the tax incentive, and we’ve seen exponential industry growth in New York City since then.

There was really no one else doing cleared art in New York City then (and we’re still the only company that specializes in representing a diverse roster of established and esteemed artists as the primary core of our catalog). So, I was able to start very small and allow the company to grow organically initially—the most challenging part was just getting the word out.

Honestly, it’s a much more challenging environment now that the industry is in flux, and there’s more competition from imitators and large generalized prop houses trying to encroach on our specialty.

Jessica Heyman at Art for Film

Why has artist advocacy been so important to you, and how do you see that commitment reflected in your work today?

I believe in the power of art to forge change and to bring deeper meaning, critique, and understanding to the world, so I want to do all that I can to enable artists to continue creating their work.

It begins with the profound respect and admiration I have for artists—to be a committed artist requires a certain vulnerability, to be willing to bear your soul and really put yourself out there in such a raw way, especially in our late-capitalist, money-focused society.

So advocating and promoting our artists to support their careers through social media posts and generating alternate revenue streams for them is central to what we do.

Jessica Heyman at Art for Film

As a founder and director, what lessons have stood out to you about leadership, especially as a woman building a creative business in this industry?

Don’t wait or ask for permission. No man would. It’s good to be reflective, but don’t let yourself be consumed by self-doubt. Just go out there and do it, and find good people to bring along with you to build relationships and networks, especially with women. We need to look out for each other.

Strong and clear communication is key, but being an acute listener and making space for feedback—to your clients and colleagues—is just as important and allows for growth and improvement.

Jessica Heyman at Art for Film

Looking ahead, what excites you most about the future of Art for Film, and what are you personally hoping to explore next?

We’ve been expanding our presence abroad, and are very excited at the prospect of curating and selling more artwork to corporations and institutions in the near future. We’re always on the lookout for new talent, so we’re excited to be adding some new artists this spring, bringing us to over 125 artists and over 7,000 ready-to-print images, in addition to our warehoused inventory of 2,000+ pieces.

We’ve also expanded our curated collection of furniture, décor, lamps, smalls, and textiles, and are in talks with some high-end artisan design companies about doing product placement for them.

Personally, I would like to explore some board and mentorship opportunities to help support the next generation of women and underrepresented groups looking to build careers in art or film.

Connect with Jessica Heyman at jessica@artforfilmnyc.com, and learn more about Art for Film at www.artforfilmnyc.com or on Instagram at @artforfilmnyc.

(All images courtesy of Jessica Heyman)

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Welcome to NYWIFT, Chicava Roslyn Tate!

Chicava is a burlesque artist, actor, producer, and leading scholar of Black women in burlesque. For more than 15 years, she served as Creative Producer of New York City’s Brown Girls Burlesque, developing political and theatrical shows across the United States and internationally.

She holds an MFA from Goddard College, where her studies focused on Black burlesque herstory, Taoism, and sacred sexuality.

Chicava’s work spans performance, film, and scholarship, including directing The Skin I’m In, co-writing and directing Becoming Betty Page, and developing the docu-series Black Bombshells, which explores the history and cultural legacy of Black women in burlesque and pinup. As an actor, she has appeared in Chock Full Till Empty, Nicole Franklin’s Title VII, and Spike Lee’s film She Hate Me.

In our interview, Chicava reflected on her creative journey, the overlooked history of Black women in burlesque, and the projects she is developing to preserve and celebrate this cultural legacy.

NYWIFT Member Chicava Roslyn Tate

Welcome to NYWIFT! Could you give our readers a brief introduction to yourself?

My creative focus lies at the intersection of performance, spirituality, and cultural heritage. I am a scholar of Black burlesque heritage, currently working on a docuseries, Black Bombshells, about the history and cultural significance of Black burlesque and pinup, and their impact on pop culture and the presence of Black women.

My art practices include burlesque, acting, standup, writing, and producing. I am a Universal Healing Tao and Institute of Integral Qigong and Tai Chi instructor, along with being a Taoist Womanly Arts teacher.

In the summer, you can find me on Governors Island at my community house, DuYe Moves, where we offer donation-based dance and wellness, art exhibitions, and concerts.

What brought you to NYWIFT?

I am a returning member of NYWIFT. I started my career in fashion as a stylist and costume designer, working on numerous music videos, album art, press, and films. I also worked in the wardrobe department on film, TV, theater, and opera.

Chicava Roslyn Tate with Esra Dayani and El Beh

Can you share how you found your way into filmmaking and performance, and what pivotal experiences shaped your creative path along the way?

One day, a long time ago in a fabulous iteration of New York City, there was a place called Tramps. A girlfriend introduced me to a woman who was a stylist and then said, “That’s what you should do!” I did, and it was a fabulous time in R&B and Hip-Hop videos. I hope I helped make some of people’s favorite memories.

Chicava Roslyn Tate on set of Chock Full Till Empty

What inspired you to explore the heritage of Black women in burlesque, and how did this journey become such a central part of your work?

When I began my burlesque journey, I scoured the internet researching costume and music ideas for my routines. After getting my fill of images of the prominent performers from the classic to modern era, I asked, “Where am I?” Was Josephine Baker the only Black woman who ever dared perform burlesque? And to be 100% clear: Josephine Baker is not a burlesque performer; she is the brightest star of a genre called Music Hall. I quickly learned how she felt about the “low arts.”

If you gather a collection of books on the history of burlesque, from the largest tomes on the golden era, there is scant mention of women of color and no discussion of our unique artistry and struggles.

Burlesque, and Black burlesque specifically, is the spine and sinew of feminine performance in popular culture. It is the driving force behind all things, especially in the performance of the feminine in American pop culture.

Our herstory has been widely overlooked, lost, and erased due to a range of factors: from cultural appropriation and inequity in access to early recording technology to the economic instability that probably saw loads of documentation thrown away from someone’s garage. So, as you can tell, it lit a fire in me.

Chicava Roslyn Tate in Chock Full Till Empty

What has been the most fulfilling project you’ve worked on so far, and what made it special for you?

That’s a tough question! I spent 15 years creatively producing live burlesque and loved most of the political and theatrical shows we created. The Brooklyn Museum series stands out. I’m going through a kind of Michael Jackson renaissance at the moment, and the MJF: Black or White show stands out as a big joy. We had a fully costumed “Thriller” flash mob in the audience, and it was also a highly emotional time, shortly after the murder of Trayvon Martin, to whom we created a video hoodie tribute.

Filmically, I am looking forward to finishing the first installment of Black Bombshells, which is a short called Mother Sparkle, made from my interviews with my burlesque moms Lottie “The Body” Graves, Toni Elling, and Jean Idelle. I started the project as part of BRIC Media’s Documentary Short program. (Seeking editor! )

Chicava Roslyn Tate with Nicole Franklin and Cybel Martin in Title VII

Are there any upcoming projects or areas of storytelling you’re excited to explore next?

I am continuing this 20-plus-year journey of creating a comprehensive docu-series on Black burlesque. I have also wanted to make a documentary on my dad, Penfield Wallace Tate II. He was the first and only Black mayor of what was my little hometown, Boulder, Colorado, in the early 1970s. That’s been on my heart for many years. With Sundance coming to town, I think it’s very important to pick that up. He’s a very inspirational joie de vivre of a fella, and I’d like the world to know his story.

I’m just beginning a journey into standup comedy and solo burlesque shows. I very much want to explore what burlesque can be on film. Basically, I’m striving to keep my personal art practice trim so that I can keep it integrated and thriving.

Learn more about Chicava Roslyn Tate’s work at chicava.com, and explore DuYe Moves on Governors Island at duyemoves.org, where artists can find opportunities to present readings, screenings, and creative work.

(All images courtesy of Chicava Roslyn Tate)

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Welcome to NYWIFT, Nicole Murray!

Nicole is a producer, writer, actor, and co-founder of Svelte Dog Productions. She has produced and acted in various productions, including the feature films Tim Travers and the Time Traveler’s Paradox and Death Perception, both receiving distribution this year.

Under the Svelte Dog umbrella, she has also produced, co-wrote, and starred in the award-winning short 3 Easy Steps and the short Run Out Groove, which premiered in the Platinum Showcase at Outfest. Svelte Dog prioritizes representation in film, and both projects consisted of a team of an entirely women and non-binary cast and crew.

Nicole comes from a science background, with years of research experience in the addiction and individual differences fields.

Get to know her in our latest interview!

What inspired you to join NYWIFT?

NYWIFT is made up of a community of inspiring women who not only take the film industry by storm but also make their own waves as individual creators in society. Seeing this community lit a fire under me to take my pursuit and my passion for film even further, especially in the uncertainties that lie ahead.

NYWIFT has created so many wonderful opportunities to bring this impactful community together, which is more important now than ever. I am given hope, excitement, and my curiosity has been spiked by being around such a talented group of individuals. I am honored to be part of it.

What inspired you to transition from a background in biology to a career in acting and film production?

I was an academic researcher in a laboratory that was doing some really amazing work on addiction and relapse. At the same time, I was making my way onto independent film sets for the first time. The love for film, acting, and being on sets in general ignited in me when I booked my first pilot and was on location for a week. It was absolutely a dream and I am so grateful for the opportunity to have been so immersed in storytelling in that way.

As I was thinking about my next steps, I realized that both the film and research industries are tough, and as fulfilling as both are, they are also competitive, challenging, and require resourcefulness and long work days. So, either way, I was going to be trucking into an industry that would constantly keep me on my toes. I am grateful for my time in research but film called me to my core in a way I have never experienced before – and I have never looked back. 

Nicole Murray with her co-founder Paige Henderson, on set playing pilots before founding Svelte Dog Productions

What motivated you to co-found Svelte Dog Productions?

My co-creator, Paige Henderson, and I had been in Los Angeles at the time for a year and had begun to realize that we needed to make art and opportunities for ourselves. As we pondered this, we realized we had a lot to say, and we couldn’t wait for others to give us the opportunity to say it. We decided to just start making those ideas that had been rolling around in our heads – driving us to make the new media series we had been writing (and were ecstatic about!) called Dead Friends.

As co-directors, writers, and producers, we found we had an aligned vision, we worked together really well and we were both dedicated. Svelte Dog Productions was born! From there, we continued to expand our skillset, making films that came from our own genre-bending ideas or producing stories from other creators of marginalized backgrounds.

Now, as Svelte Dog, we have a mission to defy the boundaries of both genre and industry, through playful storytelling and uplifting hindered stories. We strive to advance representation in the film industry, both through the stories we tell on screen and with the team we have behind the camera. Our stories often follow women and the feminine perspective, queerness, and mental health, all while using visceral storytelling techniques.

Can you share the creative process behind Run Out Groove and what it was like to work with an all-women and non-binary team?

Run Out Groove has such a special place in my heart. It was a COVID-19 short film project initiated by myself and two collaborators, Kelsey Fordham and Paige Henderson. We brought on four others as key crew, so with seven of us in total, it was a very small project.

What do you get when you take seven talented she’s and they’s into the Joshua Tree desert? Absolute magic! All of the team were hungry to be on set and be in the community – we all joked the days on set felt like summer camp. Throughout the entire time filming everyone was so kind, gave each other the utmost respect, and were quick to help each other with anything needed. Ego was nowhere to be seen. We were all like, “Wow, we need more sets like these…”. It was truly the best experience.

Since then, we, as Svelte Dog, have prioritized hiring crew from marginalized backgrounds. Our latest short, 3 Easy Steps, about a woman with debilitating ADHD, consisted of an all-women and non-binary crew, with key neurodivergent creatives who brought their own lived experience to the project.

At the 2026 Sundance Film Festival

What challenges have you faced as a producer, and how have you overcome them in your projects? Are these similar or different to your experience as an actress?

While both producing and acting require so much preparation and hard work, they awaken different skill sets. Producing, as you all know, is both creative and logistical, but most of the time, you are thinking with an efficiency mindset – identifying a potential problem and fixing it before it becomes a problem. As an indie producer, my biggest challenge often comes from trying to make the most of a smaller budget and schedule. I love this, though. Producing requires a lot of flexibility and the ability to pivot, so it really stretches my creativity.

For 3 Easy Steps, we needed a colorful stain-glass-looking background but the location we scouted with this specific look wasn’t working due to space. So, we re-purposed COVID-era sneeze guards with colorful filters overlaid and used them in a cyc stage. It ended up working out even better because the colorful builds could be packed up and taken to multiple locations – giving us room for some added story elements in our forest location. 

Acting is more about diving into a character’s story and opening your heart to their passions, hurts, and desires so you can authentically embody them. An immense amount of preparation must be balanced with emotional spontaneity and the ability to bounce off your scene partner. 

The challenge with acting on film is having to jump between a lot of different emotions due to the logistical aspects of filmmaking: starting and stopping takes for technical adjustments, specifics with blocking, and hopping between different scenes for schedule. This is amplified when I am on set as both actor and producer. When the camera rolls, I drop into the emotional journey of a character, and when cut gets called, it’s right back out into the problem-solving brain of a producer. I have found a few tricks and usually use music to pull me back into the emotional journey of a character. It is a very rewarding challenge, and I have gotten a lot of experience switching back and forth from producer and actor brain, rather quickly!

What upcoming projects are you excited about, and how do they align with your mission for greater representation in film?

I am excited and fortunate to have a few projects in the works. Svelte Dog Productions is currently in development for a comedy feature about a failing singing telegram company that features a queer love story. Recent current events have also inspired us to finish writing a sci-fi feature that gives an intimate look at one homestead in a world that farms women. Then, Svelte Dog is co-producing a feature film, set to shoot in May, which consists of a diverse cast of improvisers as they make their way through Europe.

Learn more about Nicole Murray at her production company website, www.sveltedogproductions.com, or connect with her through her linktree! Nicole is also on Instagram at @lil_ginga, as is Svelte Dog Productions at @sveltedogprod.

(Images from @lil_ginga on Instagram)

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Welcome to NYWIFT, Rachel Fleit!

Rachel is a writer, director, and producer known for her intimate, character-driven storytelling across documentary and narrative film and television. With a background in fashion and business, Rachel brings both creative sensitivity and an entrepreneurial mindset to her work, balancing artistic vision with thoughtful leadership.

Rachel directed the acclaimed documentary Introducing, Selma Blair and has helmed projects including Bama Rush and Sugar Babies, each reflecting her commitment to emotional honesty and layered storytelling.

Her latest award-winning documentary, The Slightest Touch—which follows the extraordinary friendship between Emma Fogarty, who lives with epidermolysis bullosa, and actor Colin Farrell—has been acquired by HBO Documentary Films and is slated to premiere later this year on HBO Max.

In our interview, she reflected on building trust with her subjects, navigating personal and cultural storytelling, and the creative directions she’s most excited to explore next.

NYWIFT Member Rachel Fleit

Welcome to NYWIFT! Could you give our readers a brief introduction to yourself?

My name is Rachel Fleit. I’m a writer, director, and producer drawn to intimate, character-driven storytelling, both narrative and documentary, film and TV. Much of my work explores identity and belonging and the ways people endure and transform.

What brought you to NYWIFT?

Community. Filmmaking can be deeply collaborative, but it can also feel isolating at times. I’m always seeking spaces where women are supporting one another creatively and professionally. NYWIFT represents a lineage of women carving out space in this industry for each other, and I’m proud to be part of that.

Rachel Fleit on set of the upcoming HBO documentary The Slightest Touch

What initially drew you to documentary filmmaking, and how did your background in fashion and business influence your approach as a filmmaker?

I’ve always been drawn to real people navigating complicated inner lives. Documentary allows me to sit inside those complexities without forcing easy answers.

My background in fashion and business shaped me in unexpected ways. Fashion taught me about image, presentation, and how we construct identity—which is central to so many of my films. Business taught me about leadership, negotiation, and how to build something from the ground up. As an independent filmmaker, I’ve found that [an] entrepreneurial mindset is super important.

Rachel Fleit on set of the upcoming HBO documentary The Slightest Touch

Your work—including Introducing, Selma Blair, Bama Rush, and Sugar Babies—often centers on deeply personal moments within larger cultural conversations. What guides you when deciding which stories to tell, and how do you balance public fascination with the responsibility of telling your subjects’ stories with care?

I’m drawn to stories where the personal and cultural collide and where someone’s lived experience reflects something bigger happening in the world. But I always start with the person. If I don’t feel genuine connection, curiosity, and respect for the person at the center, I won’t pursue the story.

Balancing public fascination with care comes down to intention. I’m not interested in spectacle or salaciousness. I’m interested in what’s happening underneath the hood of the car, in one’s psychic life and in allowing people to be complicated and human. That requires constant self-interrogation: Why am I filming this moment? Who does it serve? The subject always comes first.

How do you build trust and create space for vulnerability, especially when documenting sensitive or transformative experiences?

I think it’s time, listening and transparency. Trust is something you earn slowly. I spend a great deal of time off camera talking with my subjects and getting to know them before we start rolling. I’m interested in a collaboration, this is their story, and of course I am telling it, but it’s important to me that we link arms along the way, that they are clear about what the film is to me and what it isn’t.

And I try to show up consistently. When people feel seen and held, that’s when the truth, the vulnerability and the honesty is revealed.

Rachel Fleit on set of The Slightest Touch with Emma Fogarty and Colin Farrell

What does success look like to you at this stage in your career—creatively, personally, or professionally?

Success, for me, is alignment. It’s making work that feels emotionally honest, collaborating with people I respect, and building a sustainable creative life. Of course, distribution and reach matter to me but I am trying to tell important stories, both documentary and narrative, about a different way of being in the world and getting to what I like to call, the truth of the truth. If I get there, I feel successful.

Looking ahead, what kinds of stories or creative directions are you most excited to explore next?

I’m currently writing a narrative feature film and developing a documentary–narrative hybrid film about my own family that explores Jewish identity, inherited silence, and the weight of memory across generations.

More broadly, I’m drawn to stories about inheritance, silence, the body, and intergenerational experience. I’m interested in work that feels intimate and personal but resonates within larger cultural conversations. I’m excited to continue exploring films that hold emotional complexity.

Connect with Rachel Fleit on Instagram at @rachelfleit and stay tuned for her upcoming documentary, The Slightest Touch, premiering later this year on HBO Max.

(All images courtesy of Rachel Fleit)

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Welcome to NYWIFT, Alyssa Lomuscio!

Alyssa Lomuscio is a TV editor, story producer, and assistant director based in NYC. Her work as a story producer has earned her two Daytime Emmy award nominations in the Outstanding Lifestyle Program category.

She is also a science fiction writer of short stories, novels and screenplays under the pen name A.M. Lomuscio. A 2019 Clarion writer’s workshop alum, her short fiction can be found in Apex magazine and Uncharted.

In our interview, Alyssa discussed her time balancing being an AD and a writer and shared stories of working in TV. 

NYWIFT Member Alyssa Lomuscio

Welcome to NYWIFT! Could you give our readers a brief introduction to yourself?

I’m an editor and story producer with a particular focus on HGTV/Lifestyle television. I’ve been in this space over a decade and still have a fun time challenging myself to make watching paint dry interesting!

I am also a science fiction writer that does short stories, novels, and screenplays under the pen name A.M. Lomuscio.

In addition to all of that, I am also an assistant director for short films and am currently trying to branch out in that direction a bit more as of late. I do all the things!

What brings you to NYWIFT? 

Since the pandemic I’ve been working on shows from home exclusively and I’ve missed the camaraderie of the post house. The writing world is incredibly community focused which is such a wonderful thing to be a part of but, it’s made me realize that since I started to work from home, my TV and film community has begun to wane. When I learned about NYWIFT, I realized that this organization has been exactly what I’ve been looking for. I’m so excited to get involved!

NYWIFT Member Alyssa Lomuscio

What were some key moments or projects that helped build your voice as both an editor and story producer?

The first show I edited (after several years of editing casting and sizzles) was Man Caves for DIY. I came on in the later seasons and the team (who were amazing) already had the bones of the show down to a science, which meant they encouraged me to go in and have fun. I was very young for the position at age 24, and I was terrified that I would fail. So the creative freedom to just have fun helped take the anxiety away. I dove in, and I loved it.

There was something so addictive about finding that little inside joke moment in the raw and making it blossom into an entire scene. It really set the stage for the rest of my editing career to just dive in and find the emotion. Find the fun. Find the heart. And that’s what I do to this day.

What first drew you to editing and producing, and how did your early experiences shape your approach?

In high school I was a kid that could not sit still. I would proudly proclaim to all who would listen that you would NEVER find me at a desk job in the future. Cut to… sigh… 20 years later and here I am typing this from my work desk.

The thing that changed was a video editing class I took my sophomore year. I sat down in front of a computer with Final Cut open and found myself suddenly able to sit still for eight hours straight. It was a first. I was so engaged with what was happening on the screen and it all made so much sense to me, that I would get lost for hours at a time. So much so, in fact, that my teacher would have to gently remind me to go to my other classes. So then I went to film school at Temple University and everything sort of evolved from there!

NYWIFT Member Alyssa Lomuscio

How do you approach balancing narrative clarity with emotional resonance when editing?

I think, since I’m also a writer, I see these two things as going hand in hand, personally. You don’t have an emotional impact without context and you could have all the explanations for something in the world but it’s not going to resonate unless you feel it.

There is also an interesting layer here in the reality television context in that, oftentimes in post we’re finding the story, rather than working from a script. And in the act of finding that story you’re also going to find that emotion.

 So, the aggravated sigh from the builder as he discovers the blueprints are wrong (something you’ve likely found in an almost off-camera moment) will be just as important of a story beat as the preceding planned conversation that gives you extensive details about what went wrong. I think I balance them by giving them both equal respect. The audience is smart. I don’t need to hold their hand with the explanation, I just need to give them enough context so that they find themselves sighing alongside the builder at the end.

How does story producing influence the edit room dynamic?

I think the story producer is the editor’s lifeline. Oh lord, I’m going to use a home build metaphor… but they are laying the foundation and giving the episode structure. I’m coming in and giving each room a purpose, layout, and design, but I wouldn’t be able to do that without all the wiring and plumbing in place first. So, we utilize each other’s strengths and work together to make it a home. Ah. Corny. I know.

NYWIFT Member Alyssa Lomuscio

How do you think your multifaceted background strengthens the projects you work on?

Because of my background, I’m inherently a story-focused editor. I think that can be invaluable in the chaotic world of unscripted because when last-minute notes come in and we’ve got to change a whole storyline, I can switch on my ‘writer brain’ and guide my edits alongside the new narrative structure. It helps me to stay mentally flexible and always have a story solution in my back pocket.

 In the reverse, my editing helps my writing because I have an instinctive sense for plotting, pacing, and how the reveal of information can influence an audience’s expectations.

 All of these things come together and help me when I 1st AD because having such a deep knowledge of storytelling and the mental flexibility of changing that story on the fly, guides my logistical planning to make that story a reality on set.

What stories are you most excited to help bring to life in the coming years?

Oh! So many! I’m currently on a tennis docu-series for YouTube called Off Season, which has been such a fun project to work on and episodes will start coming out later in January.

An HGTV show that I have been on for all six seasons now called 100 Day Dream Home will be airing new episodes in March.

I’m currently shopping a space noir/science fiction novel to agents and I recently finished writing a pilot adaptation of a short story I published in Uncharted Magazine in the fall called Good Real History. It’s about a reality television crew that goes back in time to film historic events and create their own narratives.

NYWIFT Member Alyssa Lomuscio

Connect with Alyssa Lomuscio here.

(All photos courtesy of Alyssa Lomuscio)

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Welcome to NYWIFT, Aurora Caruso!

Italian-Belgian artist and former journalist and production assistant Aurora Caruso works with video to explore the relationship between reality and art. After several years in the Italian film industry, she is currently studying Communication and Art & Design at John Cabot University, an American university in Rome.

Driven by her passion for cinema, she moved to New York to continue her studies at The New School and has just returned to Italy after a semester there, with the goal of finding work in the United States.

 She aims to become a director, and her work is shaped by innovation, curiosity, and critical thinking.

What brings you to NYWIFT?

Before moving to New York, I was a member of WIFTMI Italia (Women in Film, Television & Media Italia). When I first approached the Italian film industry at a very young age, I was surrounded almost exclusively by men, which led me to assume that cinema was a predominantly male field. This belief deeply limited me, both artistically and professionally.

After years in the film industry, discovering NYWIFT made me realize that statistics ultimately matter less than personal perception. WIFTMI Italia and NYWIFT New York are two realities that, together, profoundly reshaped my personal vision of the film industry, allowing me to feel freer both creatively and professionally.

What projects have you worked on in the past, and where has your work been exhibited?

In 2025, I created a film that was exhibited at a digital art gallery in Rome called LIMINAL SPACE. The project was titled Siamo una strada aperta (“We Are an Open Road”) and focused on the state of loop experienced by residents of a peripheral neighborhood in Rome following the closure of the area’s only public space.

It was a very personal project that aimed to highlight a broader issue affecting large cities: the tendency to forget certain areas, certain people, and their needs in the face of mass tourism concentrated in specific zones. I had founded a cultural association in the neighborhood that organized cultural events and used the park as its main location; the park’s closure represented a rupture in a social energy that had been growing within the community.

I also screened a film at the Unarchive Found Footage Fest 2025 in Rome, exploring archival materials with full creative control over editing. Additionally, I created a film exploring the relationship between residents of a small Sicilian island and their urban environment, developed during an international artist residency in Syracuse, Sicily. However, the projects I am currently most excited about are those I developed during my time in New York.

Tell us about what type of projects excite you and why.

During my exchange period at The New School in New York, I had the opportunity to experiment with new styles that are less anchored in realism. Together with Italian actor Riccardo Eggshell, I created a short film, soon to be distributed, focused on the relationship between dreams, insomnia, and the city of New York.

I also created an immersive VR storytelling experience while taking a course in Immersive Storytelling at Parsons School of Design, based on a story I wrote several years ago. It was a valuable experience to be guided by Professor Maya Georgieva while, in turn, leading a team of students who were exposed to the project’s socio-cultural context for the first time, and witnessing how they ultimately came to believe in the idea as well.

The narrative follows Misrah, a 50-year-old woman who relives the memory of her missing child through an artificial-intelligence–guided simulation, after she lost her child during their migration journey to Sicily. In the virtual reality experience, which will also be released soon, participants experience the story from Misrah’s perspective. Everything appears perfect until the simulation begins to glitch, unable to recreate a reality that accurately reflects memories shaped outside of a Western-based framework.

Please discuss your goals as an artist and what shapes them.

I believe an artist’s role is to give form to their perception of the world, adding something unique that no one else could contribute. My main goal is to innovate, pushing storytelling into experimental forms while remaining deeply connected to social and personal realities.

New York inspires this drive, as it is a dynamic city with an energy that fuels an artistic spirit guided by innovation, passion, and storytelling. It is a city I deeply identify with on a personal level because of its ambition and its future-oriented mindset. For this reason, I hope to return to the United States.

How do you feel you can contribute as a director or artist in the U.S.?

I grew up between Belgium and Italy, experiencing a variety of cultural realities that shaped my perspective. I believe the primary skill of a director is the ability to reshape the surrounding space according to their personal vision. The United States has always been a place where reality can be molded, offering room for imagination and the exploration of new artistic frontiers, particularly through its connection to technological innovation.

Studying in New York after working in the Italian film industry has allowed me to access new creative opportunities while staying true to who I am and who I aspire to become. For this reason, returning to the United States is part of my plan, not only to continue my studies but also to gain professional experience in the American film industry.

Connect with Aurora Caruso on LinkedIn and follow her on Instagram at @missauroracaruso.

(All images courtesy of Aurora Caruso)

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