Welcome to NYWIFT, Vanessa Hope!

Vanessa Hope is an award‑winning filmmaker whose work sits at the intersection of cinema, foreign policy, and human rights, with a focus on women’s leadership in volatile political landscapes.

She has directed and produced fiction and nonfiction films across the United States, China, Afghanistan, and Taiwan, that have premiered at major festivals such as Sundance, Cannes, and IDFA. Her latest documentary, Invisible Nation, offers intimate, unprecedented access to Taiwan’s first female president, Tsai Ing‑wen, and has been embraced as a landmark portrait of a small democracy confronting mounting authoritarian pressure.

She co‑founded Double Hope Films with producer Ted Hope. She also writes the Substack newsletter Dream of a Better World and hosts the podcast vHopeful Conversations, where she champions the independent film and documentary community through in‑depth, craft‑driven dialogues.

NYWIFT Member Vanessa Hope

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

I’m a filmmaker and storyteller focused on leadership, service, democracy, and the human consequences of geopolitics. Before directing features, I worked on Asia policy at the Council on Foreign Relations, and that background deeply informs how I approach questions of power, narrative, and accountability.

I’ve directed and produced films in the United States, China, Afghanistan, and Taiwan, often working with women who are leading in difficult contexts—whether in presidential palaces, protest movements, or fragile institutions.

Through Double Hope Films, which I co‑founded with my partner Ted Hope, I develop international projects that illuminate how women are reshaping political and cultural narratives, and connect those struggles for audiences around the world.

DP Magela Crosignani and I in 2009, shooting All Eyes and Ears, my feature documentary directorial debut, which we made almost entirely on our own in China on a shoestring budget — with me on sound. We’re about to board a 22‑hour train from Xining to Lhasa with Ambassador Huntsman and his delegation. I’d been traveling to Beijing since 1991 and knew all too well the Chinese Communist Party’s insistence on a single “official” story about Tibet, Tiananmen, and Taiwan, which at that point I was still afraid to speak up about. I was there in the name of U.S. diplomacy, following the Ambassador to China, yet that train ride became one of the scariest experiences of my life, and of Magela’s. She was just visiting Ted and me recently with her boyfriend from Argentina, where she now lives, and we found ourselves reliving every moment of that journey. I’ve written a screenplay about this trip that will likely never be made — because… China and the U.S., and their shared censorship and control of truth in service of authoritarian power.

What brought you to NYWIFT? 

NYWIFT felt like a natural home not only because “once a New Yorker, always a New Yorker,” but because so much of my work focuses on women leading under pressure and the ecosystems that either support or undermine them. From Taiwan’s first female president to organizers and advocates in places like China, Afghanistan, and the U.S., I’ve seen how women are quietly transforming political and cultural narratives—often without the visibility or resources they deserve.

NYWIFT is one of the rare spaces that not only recognizes that labor but actively invests in women’s creative and leadership power. I wanted to be part of that global, intergenerational network, and to both learn from and contribute to a community that understands how urgent women’s stories are right now.

DP Magela Crosignani and I filming Ambassador Huntsman, his wife Mary Kaye, and the U.S. diplomatic delegation in Lhasa, Tibet.

What drew you to filmmaking from a career in foreign policy?

Working in foreign policy made it clear that global power is, in many ways, a battle over stories—who gets heard, whose security counts, whose courage is acknowledged.

At the Council on Foreign Relations, I watched decisions about war, peace, and democracy being made at a distance from the women and communities most affected. Film offered a way to close that distance, to bring audiences into the rooms and lives of women leaders, dissidents, and citizens on the ground, and to render abstract policy debates through human experience.

Moving into filmmaking was my way of shifting from analyzing power to amplifying those working to transform it, and to use cinema as a tool for empathy, memory, and accountability.

I recently did a vHopeful Conversation podcast interviewing Penny Lane about her outstanding new doc, WILD INSIDE, which premieres in Central Park Wednesday, July 29th—the evening you’re publishing this piece. One idea we discussed is that every documentary begins with many ideals and goals, but perhaps chief among them is the impossible ambition to understand what it is like to be someone or something other than oneself, and to communicate that experience with empathy. This holds true for both feature documentaries I’ve directed. In the case of ALL EYES AND EARS, the ambition was to know what it is like to be a U.S. Ambassador to China.

I’d long been interested in diplomacy and international relations. Though most people look at me and still don’t believe it, I do speak Chinese and invested a ton of time in learning it. I knew there was much to critique in the story of the US and China. In the case of INVISIBLE NATION the ambition was to learn what it is like to be the first female president of a Democratic Progressive Party in a country that is underrepresented on the world stage—advanced in its democracy yet wildly misunderstood, claimed, and disputed.

In both films, I began production before knowing who would fill the role of Ambassador or President. I focused on the role and the circumstances, which aligns with how public service should function: prioritizing the service over the individual. “L’état, c’est moi,” as our president mistakenly believes, represents the lunacy of a dictator.

DP Laura Hudock and I at a night market in Tainan, Taiwan with Teri Woo on sound, shooting Invisible Nation. Teri is focused on acting now.

Invisible Nation takes an inside look at the tenure of Taiwan’s first female president. How would you describe the experience of filming so closely with a world leader? Is there a significant moment that sticks out to you?

I would describe the experience as one of the most memorable and meaningful of my life. It was exciting, humbling, and so illuminating. Invisible Nation allowed me to follow a woman leader navigating one of the world’s most precarious geopolitical positions while remaining grounded, understated, and deeply accountable to her citizens. Filming so closely with President Tsai Ing‑wen meant building trust over years and constantly balancing respect for the demands of high office with a commitment to emotional and political honesty. A moment that stays with me is watching her prepare to address the public during a major cross‑Strait flare‑up.

This is a subject her team did not want her to discuss with me during her first few years in office because it was so unbelievably high-stakes and sensitive. President Tsai was calm, meticulous, and utterly focused on protecting her people rather than projecting personal grandeur. It felt like a model of leadership that is both deeply feminist and universally instructive: power rooted in responsibility, not spectacle. President Tsai continually showed that women’s leadership must be understood as central, not supplemental, to our shared future.

DP Laura Hudock and I as we exited a military aircraft to land on Penghu island to film military drills—which you see in Invisible Nation with then President Tsai Ing-wen.

One of the goals of your Substack, Dream of a Better World, is to “examine the systems, histories, and movements that shape what gets seen and who gets heard and why.” What is your perspective on the filmmaker’s responsibility in shaping that reality?

Dream of a Better World exists because stories are one of the primary tools through which power decides who is visible, credible, and safe. Women and minority filmmakers, and authors are still too often sidelined in that process.

As filmmakers, we are never neutral; every aesthetic and narrative decision shapes whose leadership looks “natural,” whose dissent looks “threatening,” and whose aspirations feel plausible. I see my responsibility as threefold: to do the structural homework; to stay accountable to the women and communities I film; and to invite audiences to question the hierarchies they’ve inherited about which countries, voices, and visions matter. 

The goal is to widen the imaginative space for more just and inclusive forms of power and storytelling.

DP Laura Hudock and I just before boarding then–President Tsai Ing‑wen’s Air Force One.

What has been the most exciting or challenging aspect of producing international films?

The most exciting part of producing international films is collaborating with women and communities who are rewriting the terms of leadership in their own contexts—from East Asia to the Middle East to the United States. You witness forms of courage, creativity, and everyday governance that rarely make it into mainstream coverage, and you can help connect their stories to global audiences who may not otherwise encounter them. 

The challenge is that the same forces these stories confront—authoritarianism, disinformation, entrenched patriarchy—also shape access, security, and distribution, especially for women and minority filmmakers all over the world. Navigating censorship, safety, and limited resources while protecting participants and crews is demanding and sometimes painful, but it also underscores why these films have to exist and why we need more infrastructure in film to support them.

Earlier in 2009, DP Magela Crosignani shot and I produced director Zeina Durra’s feature directorial debut The Imperialists Are Still Alive! in NYC. Our production designer was Jade Healy, who just worked on Olivia Wilde’s The Invite which is excellent!

Looking ahead, what are you excited to explore in the next phase of your career journey?

Looking ahead, I’m excited to keep building a body of work on global leadership—in particular, how women are governing, organizing, and imagining alternatives in a time of resurgent authoritarianism. Ted and I have many film projects in development and a special scripted series we’re working on.

One of my next major documentary directing projects is with Vital Voices, following women in countries around the world whose work spans justice, climate, tech, and economic equity. I’ll start shooting at the start of the Venice Film Festival in September, during the Vital Voices Global Dialogue. Ted is on the Venice debut film jury, a huge honor.

In addition to vHopeful Conversations and the podcast Love Is a Crime, I’m developing a new filmed series and video podcast called You Only Live Once. The series uses my grandparents’ archive—actress Joan Bennett, a pre‑Code ingénue and film noir icon, and producer Walter Wanger, a pioneering independent and former Academy president—as the prism for 38 classic films of theirs and 38 conversations with some of today’s greatest directors. It’s a love letter to cinema and a way of asking what these films can still teach us about culture, power, and progress. 

I’m part of the Fall of Freedom film community. I want to share that October 2-3-4 will be here before we know it. If you’re planning an exhibition, concert, performance, screening, gathering, reading, workshop, or public action, now is the time to get it on the calendar.

Register your event and begin building your October activation. The Organizer Toolkit walks through how to activate locally, and our Social Media Toolkit makes it easy to share your event and connect it to the national campaign.

Follow Vanessa Hope via her Substack (Dream of a Better World) or her podcasts (vHopeful Conversations and Love is a Crime), or on Instagram at @vhopeful.

If you would like to host a community screening of Invisible Nation, the film can be reserved on Kinema. For anyone who would like to stream the film on their own, Invisible Nation is still available on PBS! Learn more at www.invisiblenation.net.

(All images courtesy of Vanessa Hope)

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Welcome to NYWIFT, Laetitia Ky!

Laetitia Ky is an artist and actress from Côte d’Ivoire whose practice moves across hair sculpture, photography, painting, performance, and writing. Using her own body and hair as both material and language, she creates works that explore identity, beauty, Blackness, womanhood, freedom, and the political meaning carried by the body.

Her work, rooted in personal experience, transforms intimate questions into visual statements that resonate far beyond herself. Through her art, she challenges beauty standards, opens conversations around social and cultural issues, and invites audiences to see the body as a site of memory, resistance, and possibility.

Could you give our readers a brief introduction to yourself? 

My name is Laetitia Ky. I am an artist and actress from Côte d’Ivoire working across many mediums, mainly hair sculpture, but also photography, painting, performance, and writing.

A lot of my work begins with my own body, and especially my hair, which I use as both a material and a language. Through it, I explore identity, beauty, womanhood, Blackness, freedom, and the way the body can carry both personal and political meaning.

Over time, my practice has expanded into many forms, but the core has remained the same: using art to transform intimate experience into something visual, powerful, and shared.

What brings you to NYWIFT? 

I am at a moment in my journey where I want to deepen my relationship with film and storytelling on screen. The three movies I acted in showed me how passionate I am about acting. I recently moved to New York City, and coming to NYWIFT is a way for me to step into the film world by being in contact with many incredible women who share a similar passion.

As soon as I came across the organization, I connected with it. Women working together to uplift other women is one of the biggest values I advocate for myself. NYWIFT feels like a meaningful community to connect with women who are shaping that world, while also learning, building relationships, and opening new creative possibilities.

What belief or personal philosophy guides the way you approach your art and creative expression? 

I think art should tell the truth of the artist, even when it is not a popular opinion, even when it is not politically correct, even when it is dark or taboo, even when it is not pretty. That is what I try to do. I do not shy away from talking about things my being wants to express, even when I know it can attract backlash, because at least it opens conversation, and everyone can grow from it.

I am very guided by honesty. I do not create just to make something beautiful. I create to say something real, to question what has been normalized, and to make visible emotions or realities that are often ignored. I also believe that what is deeply personal can become deeply universal.

So I trust my own body, memories, contradictions, and experiences as a valid place to begin. For me, vulnerability is not separate from strength. It is often where the strongest work starts.

CANNES, FRANCE – MAY 14: Laetitia Ky attends the “Promis Le Ciel” (Promised Sky) photocall at the 78th annual Cannes Film Festival at Palais des Festivals on May 14, 2025 in Cannes, France. (Photo by Pascal Le Segretain/Getty Images/courtesy of Laetitia Ky)

Your work often explores the body as a site of resistance and identity. What first inspired you to approach storytelling in this way? 

It started with my own history. Growing up, I became very aware of how much control society tries to exert over women’s bodies, and especially over Black women’s bodies. Hair was one of my first entry points into that understanding. I grew up in Côte d’Ivoire, a former French colony, and that shaped a lot of the way we see ourselves and beauty standards. I spent all my childhood using dangerous chemicals to make my hair straight because it was the only socially acceptable way to exist.

 When I overcame those beliefs, I realized hair carries so much cultural, political, and emotional weight. My own hair journey led me to question beauty standards, respectability, femininity, and self acceptance. From there, the body became impossible to ignore in my work, because it is where so many tensions live. It is where violence can happen, but also where dignity, imagination, resistance, and transformation begin.

Many of your pieces engage with social and political themes. How do you balance artistic expression with activism in your work? 

For me, there is no hard separation between the two. I begin with an image, a feeling, a question, or a tension that feels urgent to me. The political dimension comes naturally because I am responding to real conditions and lived experience. I care a lot about making work that is visually compelling and emotionally layered, because I think art can sometimes reach people more deeply than direct argument.

Can you share a moment in your career when you realized the impact your work was having on others? 

There have been many touching moments, but one of the strongest was at the very beginning of my journey as an artist. At first, I was simply creating cool geometric shapes for the sake of making beautiful images. There was no real intention behind it yet.

Then, when I went viral for the first time, I started receiving many messages from women, especially Black women, all over the world, thanking me because my images helped them realize how beautiful their own hair is. Those messages were the click for me. They made me realize that what I was doing was impacting people in a positive way. That was also the moment I started associating storytelling with the beautiful shapes.

Those messages meant a lot to me because even though my work was not intentionally political at first, it still came from a very personal place. I started creating those shapes at a moment when I was deeply struggling to love my own hair, when I needed to prove to myself that my hair and body had worth.

Realizing that something that began as my own process of questioning and healing could help others feel seen, proud, or empowered made me understand that the work was living beyond me. It was no longer only mine. That is maybe when I understood that I needed to be responsible and deeply truthful with it.

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

I am very excited to keep expanding into the film industry as an actress. I want to take part in projects that bring together art and cinema in a beautiful way. I am especially interested in inventive collaborations, whether with filmmakers, actors, writers, composers, or cultural institutions. I am also excited by projects that allow me to fully express deep parts of myself.

Connect with Laetitia Ky on Instagram or TikTok @laetitiaky

(All photos courtesy of Laetitia Ky)

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Welcome to NYWIFT, Alice McFaul!

Alice is a producer, assistant director, and musician based between New York and Ireland, working in feature documentaries and unscripted television. 

Her work includes some of Netflix’s biggest true crime feature docs as a drama producer, and Stanley Tucci’s Searching for Italy and Tucci in Italy shows as assistant director. Alice is also a professional harpist and singer, playing since the age of three in Northern Ireland.  

In our interview, Alice tells us more about her experience working across these platforms, and how these are shaping her future goals. 

NYWIFT Member Alice McFaul

Could you give our readers a brief introduction to yourself?

Hi, I’m Alice. I recently moved to New York from Northern Ireland (after a brief eight-year stint living in London!). I’m a drama producer and assistant director in unscripted TV and film, working mostly in feature documentaries. I’m also a traditional Irish harper and singer. 

In film, I love producing the drama elements of feature docs that help elevate and tell the parts of the stories we don’t have visual references for yet. It’s a tricky balance to get right, the best drama elements of docs are seamless, and the audience are left unaware they are recreations. In music, I enjoy bringing an Irish folk twist to songs that wouldn’t traditionally be created for the harp. 

What brought you to NYWIFT?

Having just moved to New York I was looking for community within the industry, somewhere to grow and learn from likeminded women. I knew the events held by NYWIFT would be a place to meet other creatives and be inspired and encouraged on my own journey. 

You work both as a producer and 1st AD. How do these roles complement each other in your work? 

Drama producing and 1st AD work complement each other beautifully. They both create deeper understandings of budgets, schedules and the constraints we’re always juggling in order to get to the finish line.

While setting up a shoot as a producer, I can have my AD head on at the same time and know when something may need to be set up differently to be more achievable, and likewise where we can have a bit more flexibility with a scene.  

What draws you to documentary and unscripted storytelling in particular? 

The people and their stories. Documentaries give people a chance to tell their biggest life moments and connect with others around the world in doing so. The rise of streaming platforms has meant documentaries are now reaching audiences that maybe wouldn’t have seen or heard these stories before, and that’s incredible. Everyone we pass on the street has a story, and I love that unscripted shows give the opportunity for everyday people to express these. 

You have worked between New York, Belfast, and London. How has this international experience shaped your approach? 

I’ve been incredibly lucky to work around the world on these types of shows, shooting across the US, Central and South America, Europe, and Asia. Working internationally has given me such unique insight and experience, learning how crews work in different climates and cultures, and how storytelling differs around the world. It’s taught me to go into every job with an openness to learn from those on the ground, to not expect everyone to work in the same way we do, and to always be ready to adapt to our surroundings. 

Looking ahead, what kinds of stories or projects are you most excited to pursue? 

This year I’m excited to pursue a few stories that have been in my back pocket for a while and finally feel the time is aligning for them to come to fruition. I’m also delving into the world of scripted and planning to shoot my first short this year as a writer and director, bringing in the story telling experience I’ve garnered throughout my career so far.

I’m also excited to look for stories and projects between New York and Ireland, combining my two worlds and seeing what possibilities lie there. 

Connect with Alice on her website www.alicemcfaul.com and on Instagram at @alicemcfaul.

(All images courtesy of Alice McFaul)

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Welcome to NYWIFT, Isabella Medina Sarria!

Isabella Medina Sarria is a New York–based film producer originally from Colombia, known for developing and producing internationally-recognized projects. Her award-winning short films include Delusion, which won at the Berlin Indie Film Festival and earned recognition at the LA Indie Film Festival and New York Shorts International Film Festival.

She has expanded into feature films, working on Up in the Hills (starring Dylan Walsh and Paris Berelc), Tox (starring Margaret Colin), and Higher Love (starring Dennis Haysbert and Joe Pantoliano), which wrapped production in August 2025.

Her work is driven by a strong creative vision, championing well-represented female characters and immigrant stories.

NYWIFT Member Isabella Medina Sarria

Could you give our readers a brief introduction to yourself?

I’m a film producer passionate about telling stories that center immigrant experiences, complex women, and underrepresented communities. I’m drawn to projects that not only entertain, but also create space for voices that are often overlooked.

My goal is to help bring meaningful, emotionally resonant stories to the screen that reflect the diversity and depth of the world we live in.

What brought you to NYWIFT?

NYWIFT felt like the dream place, a community where women are empowered to speak, lead, and support one another within the industry.

Being part of an organization that actively uplifts female voices and fosters collaboration has been incredibly meaningful to my growth, both personally and professionally.

Isabella Medina Sarria with actress Paris Berelc

What is a lesson you learned the hard way in your career that you wish you’d known earlier?

One of the most important lessons I’ve learned is that making mistakes and failing is often the foundation of your biggest breakthroughs. Early on, I viewed mistakes as failures, but over time I’ve realized they are essential to growth. Every challenge I’ve faced has ultimately led me to stronger opportunities and a deeper understanding of my craft.

Isabella Medina Sarria on set

You recently worked on the feature drama Higher Love. What drew you to that story?

Higher Love is a deeply moving story about devotion, resilience, and faith. It follows a man in his 70s who becomes his wife’s full-time caregiver after she suffers a stroke, and how an unexpected friendship challenges his understanding of love, loyalty, and community.

I was drawn to its emotional depth and humanity. It’s a reminder of how precious time is, and how powerful faith and connection can be in the face of life’s most difficult moments.

As a producer, what do you look for first when deciding whether to say yes to a project?

The story always comes first. I look for projects that have a strong emotional core and a clear point of view. It’s important to me that the themes align with my values and that I can genuinely contribute to bringing the vision to life. If I feel a deep connection to the story and its potential impact, that’s when I know it’s worth pursuing.

Can you share a moment from your career so far that reaffirmed why you chose this path?

I had a defining moment while screening my short film Delusion in Los Angeles. I was nervous, unsure if anyone would even show up, but about 30 people came. After the screening, someone approached me and shared how much the film moved them and how much they admired the work behind it.

That project had been especially challenging. I had to completely reshoot it due to a hard drive failure. Seeing it resonate with an audience after everything it took to complete reminded me exactly why I do this. Creating something that connects with people on a deeper level is an indescribable feeling.

Looking ahead, what kind of stories or collaborations are you most excited to explore next?

I’m currently collaborating with director Mira Atwah on two exciting projects. One follows a young Asian American mother in her early 20s navigating a dangerous situation in pursuit of a better life for herself and her daughter. The other explores the unexpected connection between two women who discover they’ve been betrayed by the same partner, leading them on a journey of revenge, healing, and ultimately love.

I’m excited to explore new genres, challenge myself creatively, and continue working with bold filmmakers who are not afraid to tell the stories they want to tell. 

Connect with Isabella on Linkedin and on Instagram at @isabellamsarria. 

(All images courtesy of  Isabella Medina Sarria)

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The ESSENCE Festival of Culture was grand, drawing actors, singers, celebrities, activists, sponsors, and attendees to New Orleans over the July 4th weekend in 2026. My favorite moment was meeting Carmen Smith, Senior Vice President, Creative Development, Content-Products & Inclusive Strategies, Disney Park Experiences Products/Walt Disney Imagineering, and Ms. Stella Chase-Reese, daughter of the late Chef Leah Chase, the legendary New Orleans chef, author, civil rights icon, and “Queen of Creole Cuisine,” whose legacy helped inspire Princess Tiana in Disney’s animated film The Princess and the Frog.

Set in 1920s New Orleans, Disney’s The Princess and the Frog (2009) shares the story of Tiana, a hardworking waitress, who dreams of one day owning her own restaurant. Princess Tiana remains the first and only Black official Disney Princess.

Leah Chase (Photo Credit: Dinah Rogers, NOLA.com | The Times-Picayun). Right: Disney’s movie poster for The Princess and the Frog

Stella, Carmen, and I spoke about the newest Disney attraction, Tiana’s Joyful Celebration, an immersive, bilingual museum exhibit produced by Walt Disney Imagineering. It follows the storyline of Tiana’s Bayou Adventure, inviting children to use their imagination and teamwork to help Tiana and her friends prepare for a Mardi Gras season parade. The exhibit is immersive and tailored for children ages 6-10, bringing the sights, sounds, and flavors of New Orleans to life. This traveling exhibition had its kickoff at the festival. 

Stella Chase-Reese

Stella Chase-Reese, the eldest living daughter of Leah and Edgar Chase, helps run the day-to-day operations of Dooky-Chase Restaurant alongside multiple generations of her family. She spoke about the importance of keeping her mother’s legacy alive and honoring the role the restaurant played in New Orleans history.

During the segregation era of the 1960s, Dooky Chase’s Restaurant in the Tremé neighborhood served as a desegregated sanctuary where activists gathered, planned sit-ins and protests, and shared meals. During the Jim Crow years, it was one of the few fine-dining restaurants in New Orleans that welcomed Black patrons, becoming a vital meeting place for civil rights leaders, entertainers, and politicians traveling through the city.

Jenifer Lewis, actress and voice of Mama Odie from The Princess and the Frog

Leah Chase also turned the restaurant walls into an art gallery, championing Black artists at a time when they were routinely excluded from mainstream museums. Her impact on American food and culture was recognized with the James Beard Lifetime Achievement Award, numerous honorary degrees, and a legacy that continues through her family and community.

Carmen Smith, Senior Vice President, Creative Development, Content-Products & Inclusive Strategies · Disney Park Experiences Products/Walt Disney Imagineering

Stella shared with me at the Essence Festival of Culture that this exhibition is important for those who are unable to travel to the Bayou. Carmen also expressed, “What better place than to have it here, the home of the influence of Princess Tiana.”

Stella Chase-Reese, Penni Malloy-Harper, and Carmen Smith

(All images courtesy of Disney)

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Welcome to NYWIFT, Marianna Olinger!

Marianna is an artist, producer, strategist, and visionary who evaluates media projects for their potential impact on society and social change.

Marianna worked as lead impact producer for two Oscar-shortlisted documentaries, including The Territory (Sundance, Peabody, Emmy winner). As co-director at Earth Alliance, Marianna proclaims: ‘I am nature, and nature is in me.’

In our interview, she reflects on the pilot initiative, Indigenous Impact Alliance, through Doc Society’s Climate Story Unit, and her work as co-producer of the short documentary Sankofa.

Read on to learn about the work Marianna’s most excited to bring to life next.

NYWIFT Member Marianna Olinger

What brings you to NYWIFT?

As an impact producer and strategist, as well as an artist and producer, my work has always sat at the intersection of storytelling and social change. Finding community with others who share this approach is essential. I came to NYWIFT because it represents something really needed in our industry, an organization that champions women, not just through networking, but through genuine advocacy, professional development, and field-wide solidarity.

As someone rooted in New York for the past 12 years, and actively building initiatives to strengthen the impact media ecosystem, NYWIFT’s role as the city’s preeminent association for women in film and television felt like a natural home.

The organization’s commitment to supporting women at every stage of their careers, connecting filmmakers to resources and funding, and amplifying voices across the industry mirrors the work I do every day, and the community I’m trying to help grow.

At Big Sky FF Doc Shop Panel on collaborative work

What does being an Impact Strategist mean? Talk about the Indigenous Impact Alliance or any other project you’d like other artists and creators to know about this Spring.

Being an impact strategist means sitting at the intersection of storytelling and social change and asking, from the very beginning of a film’s life, ‘Who needs to see this, why does it matter, and what do we want to shift in the world as a result?’

It’s not about marketing a film after it’s made. It’s about building a strategy around the film’s purpose — identifying the communities, organizations, policy landscapes, and movements that a film can speak to and move, and then designing a distribution and engagement plan that connects the story to real-world action.

For me, it also means thinking about the field itself: how can the way we work become a model for something better? For any artist or creator thinking about their own work: the question I’d invite you to sit with is not just, ‘How do I get my film seen?’ — but, ‘What do I want my film to do?’ That’s where impact strategy begins.

One of the projects I’m most proud of this spring is the Indigenous Impact Alliance, a pilot initiative I served as impact strategist for through Doc Society‘s Climate Story Unit. The Alliance brought together five North American Indigenous-led documentary films to test a radical idea: instead of competing for the same audiences, press, and screening slots, what if films addressing shared issues worked together?

Over 12 months, we built a coordinated infrastructure that included pooled impact grants, shared distribution through the Kinema platform, a joint digital hub, coordinated publicity, and a collective screening tour, showing that the field doesn’t have to be built on competition; collaboration can be a strategy, and a powerful one.

Another project close to my heart this spring is Daughters of the Forest (2026), a documentary directed and produced by a women-led creative team, following two Indigenous women mycologists, whose deep generational connection to mushrooms becomes a lens through which they examine identity, culture, and the relationship between ancient tradition and modern science, set against the backdrop of deforestation threatening Mexico’s forests. As the magical qualities of mushrooms enter the mainstream, the film insists on centering a crucial element of their story that is being erased: Indigenous knowledge.

Daughters of the Forest premiered at SXSW, winning the Audience Award in the Visions category. The film is co-produced by Sandbox Films, a fellow New York-based production company and will have its New York premiere at the Margaret Mead Film Festival. As impact strategist on the film, I’m working to ensure this visually breathtaking and environmentally urgent story reaches the communities and movements it belongs to.

Another project I want artists and creators to know about this spring is War on Women, a bold and urgently needed documentary directed and produced by a woman who places herself at the very center of the story. What begins as a deeply personal reckoning, discovering her own mother’s allegiance to Estonia’s far-right party, becomes a global investigation into a coordinated international network dismantling gender rights and democracy under the guise of “traditional family values.”

The film exposes how a series of powerful think tanks have funneled hundreds of millions of euros to roll back women’s rights, reproductive autonomy, and LGBTQ+ freedoms across Europe, the US and beyond. The film is supported by New York-based Chicken & Egg Films and is targeting a late 2026/early 2027 release. As a consulting producer and impact strategist on this film, I’m working to ensure it reaches the audiences, policymakers, and movements that need it most.

Finally, the short documentary Sankofa (2025), which I co-produced, and is directed by New York-based filmmaker Anna Parisi. The film explores Black women’s relationships to their natural hair across the African diaspora — from Brazil and West Africa to the Islands and the United States. Through interviews with over 20 women, it weaves together stories of identity, beauty, resistance, and belonging, centering voices that deserve this kind of space and care on screen.

On May 5th, Sankofa was presented as part of the Soft Spaces exhibition at the Leslie-Lohman Museum of Art, where was be on view through June 21st, in a convergence of documentary film and visual art, the kind of community-rooted premiere that reminds us why we make this work.

NYC Premiere of THE TERRITORY (photo by Leslye Davies)

How does nature inform your art?

Something I’m now able to articulate better than I have in the past, but has always been in me, that was part of my upbringing, is that first and foremost, I am nature, and nature is in me. This manifests in my art and professional projects as well. The more I learn about the way different ecosystems work, the more I see integration, collaboration, interdependence, which all inform my work, and show up profoundly through the stories and communities I am privileged to work with.

I’m particularly privileged to have been invited to work on a number of projects led by Indigenous peoples and communities who grew up living their ancestral values as nature in the last few years, and that has only consolidated the presence of nature in my life.

As a strategist, this thing we call nature, the incredible web of spaces and relationships that make our planet what it is, has taught me that the most resilient systems are the most interconnected, flexible, collaborative, and existing in balance with the other beings around. That is the model I bring to field building, to impact campaigns, and to the way I think about coalition and community.

Hiking in New Mexico with the Indigenous Impact Alliance cohort

Your work is global. Discuss any international filmmakers you are currently following and whom you might like to work with in the future.

I am always looking to connect with filmmakers, particularly women, with values aligned with my own, including deep love for what they do, respect and care for the communities and environments they work with. If that is you, I want to know your work.

On a more granular level, the line connecting everything I do is a belief that the most urgent stories are being told by filmmakers who are close to the ground, embedded in their communities, yet connecting with global dynamics and processes. My ongoing collaboration with organizations such as Doc Society, for example, has been central to how I stay connected to that international ecosystem, giving me relationships and visibility into filmmaking communities across the Americas, Africa, and Asia and beyond.

That international orientation also shapes my role as co-director of Earth Alliance, where one of the initiatives I am most excited about is an impact pitch we have recently launched in partnership with Jackson Wild — one of the most prestigious nature and wildlife film awards in the world. Filmmakers from anywhere working at the intersection of nature, environment, and social impact are eligible to apply. It combines funding with strategic communications support, helping filmmakers think about how their work can move audiences and shift systems. For international filmmakers telling environmental and nature stories who want to build a real impact campaign around their work, this is an opportunity worth looking at.

Connect with Marianna Olinger on LinkedIn, on Instagram at @marianna.olinger, and on her website mariannaolinger.com.

About Marianna Olinger:

Marianna Olinger works at the intersection of culture and community as an impact strategist and producer, researcher, artist, and organizer. As co-director at Earth Alliance and as an Impact Strategist with Doc Society and independently, she brings a systems-level lens to storytelling and movement work. Her practice centers on amplifying the knowledge, stories, and lived experiences of peoples and communities, nurturing relationships rooted in solidarity and care, and fostering human development in harmony with all species and the planet. Past impact strategy and production roles include: Oscars® shortlisted The Territory (Documist, Protozoa, Passion Films, Neo Geo Docs) and Yanuni (Malaika Pictures, Appian Way, Age of Union), How to Blow Up a Pipeline (Neon), Indigenous Impact Alliance (Doc Society), VsGoliath (Tikkun Olam), Climate in Therapy (B-Reel Films) and Daughters of the Forest (Sandbox Films, Oscura).

(All images courtesy of Marianna Olinger)

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Welcome to NYWIFT, Helen Huang!

Helen Huang (Haitong Huang) is a New York–based creative director, filmmaker, and curator working across film, moving image, and immersive media. She has served as Creative Director for the SOHO International Film Festival and is a core member of Vermilions Theater.

Her work explores how cinematic storytelling evolves across new formats, bridging traditional film language with emerging technologies. A fellow at the Harvard Innovation Lab, she has received multiple international awards, with her work featured in Forbes, ELLE, and Harvard Gazette.

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

I’m Helen Huang, a New York–based creative director, filmmaker, and curator working across film, moving image, and emerging media. My work focuses on how storytelling evolves across formats—from traditional cinema to new forms of visual narrative shaped by technology.

I’ve served as Creative Director for the SOHO International Film Festival and have been a core member of Vermilions Theater, where I developed a strong foundation in narrative structure, visual language, and audience experience.

What brings you to NYWIFT?

NYWIFT brings together a community of women working across film, television, and media, and I’m excited to be part of that dialogue. My background spans film programming, theater, and emerging visual formats, and I’m particularly interested in how storytelling is expanding beyond traditional screens. I’m looking forward to connecting with filmmakers and creators who are pushing narrative in new directions while staying rooted in cinematic language.

Your career started in Earth Science—what drew you from that into tech, and how did you navigate that pivot?

My background in Earth Science shaped how I think about systems and time—how things evolve and unfold. When I moved into film and theater, I became interested in how narrative also operates over time, through rhythm, structure, and perception. That eventually led me into technology, not as a separate field, but as a tool to extend cinematic storytelling. The transition felt natural because I was always interested in how experiences are constructed and perceived.

Looking back, what early experiences shaped your approach to product strategy and innovation?

Working in theater and film festivals had a lasting impact. Theater taught me how to think about presence, timing, and audience engagement in real time, while film festivals shaped how I think about curation—how individual works come together to create a larger narrative context. Those experiences continue to influence how I approach creative direction, especially when working across different formats and platforms.

How did you design the platform to foster both learning and confidence simultaneously?

I approached the platform in a way that’s similar to storytelling in film. Learning isn’t just about information—it’s about progression, pacing, and engagement. I designed the experience so that users feel a sense of movement and development, rather than static consumption. That sense of progression naturally builds confidence, much like how an audience becomes more invested as a story unfolds.

Having concluded your “adult gap year,” what qualities or projects are you most excited to pursue next?

I’m particularly interested in developing new forms of cinematic storytelling that exist between film, installation, and digital media. I want to explore how narrative can move beyond a fixed timeline into something more adaptive and responsive. At the same time, I’m continuing to build work that remains grounded in strong visual language and storytelling principles drawn from film and theater.

What advice would you give to someone trying to combine technical expertise, creativity, and strategic thinking in their career?

Stay grounded in storytelling. Technology and strategy are important, but narrative is what connects everything. Whether you’re working in film, television, or emerging media, understanding how to structure a story, build tension, and guide an audience’s attention is essential. From there, technical and strategic skills become tools to expand what’s possible.

Connect with Helen Huang on Instagram at @Helenheyheyhey.

(All images courtesy of Helen Huang)

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Welcome to NYWIFT, Kaia Goudreau!

Kaia Goudreau is a filmmaker and photographer based in Brooklyn, New York. She studied filmmaking and writing at Sarah Lawrence College, cultivating a focus on stories that explore life’s in-between moments—aging, change, and quiet rituals. 

Kaia is developing a short film slated for production later this year and collaborating with director Linda Yellen on features in development and casting. She has also contributed to creative projects in France and Ireland, expanding her visual lens. 

Whether narrative or documentary, her work lingers on subtle moments that reveal depth and character.

In our interview, Kaia discusses her inspiration and background in filmmaking, as well as her exciting upcoming projects. 

NYWIFT Member Kaia Goudreau

Could you please give our readers a brief introduction to yourself?

I’m a New York–based filmmaker working across narrative and documentary. I currently work in Development Coordination at Keckins Projects, where I’m involved in feature film projects from early development through production. I’ve also spent time working with Motto Pictures and Tiny Ark in Ireland on both documentary and commercial work.

Those experiences have really shaped how I think about storytelling—seeing how projects evolve from an initial idea into something fully realized. Alongside that, I write and direct my own films, which tend to focus on character-driven stories and the quieter, more intimate moments between people. I’m especially interested in what’s left unsaid and how emotion can live in those in-between spaces.

Kaia Goudreau on set

What brings you to NYWIFT?

I’m excited to be part of a community that supports and uplifts women in film and television. NYWIFT feels like a space where collaboration, mentorship, and creative exchange are genuinely encouraged. I’m looking forward to both learning from and contributing to that network as I continue to grow in my career.

Since much of your work focuses on the “quiet moments,” how did you find your filmmaking style and narrative voice?

A lot of it came from working across both documentary and narrative forms. In documentary, you learn to observe and wait for moments that aren’t staged, and that really shaped how I approach storytelling. I became more interested in what’s implied rather than what’s explicitly said—how pacing, framing, and performance can carry meaning. My narrative work reflects that influence, leaning into restraint and trusting the audience to engage with those quieter, in-between moments.

Kaia Goudreau on set

What originally drew you to filmmaking?

My dad introduced me to filmmaking at a really young age. I grew up sitting in his editing studio, watching footage come together piece by piece, and being fascinated by the process. As a visual learner, it felt almost magical—that you could take something raw and shape it into a story with rhythm, emotion, and meaning.

I think that’s where it started for me—the realization that film could bring something intangible to life. It made storytelling feel physical, something you could build and feel, not just imagine. That early exposure stayed with me, and over time, it naturally turned into something I wanted to pursue myself.

Kaia Goudreau on set

Do you have any upcoming work that you can tell us about? 

I’m currently working on a short film script that I hope to direct later this year! I’ve also been supporting the development and production of a few feature projects with director Linda Yellen, which are in various stages of development and casting. 

Connect with Kaia Goudreau on Instagram @bluzenbits or view her work on her website www.kaiablue.com

(All images courtesy of Kaia Goudreau)

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Welcome to NYWIFT, Elliana Bertrand!

Elliana is a New York–based producer, assistant director, and script supervisor working across film and television. A graduate of the inaugural cohort at NYU Tisch’s Martin Scorsese Virtual Production Center, she produced her thesis film The Feather, a Viking short shot exclusively on an LED volume.

Over the past year, she has worked in the film unit at Saturday Night Live and contributed to a range of feature films and commercial projects, including a recent Netflix production.

A dedicated moviegoer and advocate for the theatrical experience, Elliana has a particular love for Giallo cinema. Alongside her work in the industry, she is completing her Pilates teacher certification, bringing a refined understanding of movement, rhythm, and choreography into her approach to flow and precision on set.

In our interview, she discussed her journey into assistant directing, the lessons she’s learned working in production, and the projects she hopes to explore in the future.

NYWIFT Member Elliana Bertrand

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

I’m a New York–based producer and assistant director working across film, television, and commercial projects. I recently completed my master’s in virtual production at NYU Tisch, where I produced my virtual production thesis movie, The Feather.

My background in ballet and fashion, along with my work as a Pilates instructor-in-training, informs how I approach storytelling through movement, rhythm, and visual composition. I’m especially interested in how structure and energy on set translate into what ultimately appears on screen.

What brought you to NYWIFT?

I was drawn to NYWIFT because I’m passionate about championing women-led work in an industry that still has a long way to go in how it supports and highlights female voices. I’ve seen firsthand how powerful and collaborative women-driven sets can be, and I want to contribute to building more of those environments.

Being part of a community that actively uplifts, connects, and advocates for women in film and television feels essential to the kind of career I want to build.

Elliana Bertrand on the set of her film The Feather

What initially drew you to working on set, and how did you find your path into assistant directing and production roles?

My path to set started through movement and visual storytelling. I grew up in ballet and have always been drawn to fashion, both of which shaped how I think about composition, rhythm, and presence. Traveling to 31 countries further expanded that perspective and deepened my interest in storytelling across different cultures and environments.

When I started working on set, I realized I was just as interested in how everything comes together as I was in what’s on screen. I naturally think in terms of flow, what’s happening next, and how to keep things moving with precision. That instinct led me toward assistant directing and production, where I can bridge creative vision with execution and help shape the rhythm of a set in a very real way.

What has working on independent projects like your thesis film The Feather taught you compared to working on large productions such as Saturday Night Live?

Working on independent projects like my master’s thesis, The Feather, taught me how to take real ownership creatively and operationally. I was deeply involved in building the project from the ground up, including fundraising and forming relationships with local businesses and vendors, which gave me a much more holistic understanding of what it takes to bring something to life.

It requires constant adaptability and a forward-thinking mindset, because there’s no buffer, you have to solve problems as they arise and keep momentum going. On large-scale productions, I’ve seen how those same instincts translate within a more structured system, where timing and coordination are even more precise.

Across both, I’ve developed a strong ability to anticipate what’s needed before it’s said and to stay steady under pressure, while also being intentional about the way I show up. The tone on set matters, and I’m very aware that how you communicate and carry yourself directly impacts the team around you.

Elliana Bertrand on the set of her film The Feather

You’ve spoken about the importance of creating environments where people feel prepared, supported, and respected. What does strong leadership on set look like to you?

To me, strong leadership on set is about creating real alignment between people. Film is inherently collaborative, and the best work happens when everyone feels connected to what they’re doing and to each other. I see a leader’s role as making that connection possible through clear, direct communication and a grounded presence that keeps people engaged and comfortable contributing.

On set, things are always shifting, so I focus on staying steady and aware of what the team needs in the moment. I naturally think ahead and anticipate where friction might come up, which allows me to step in early and keep things moving without disrupting the flow.

For me, strong leadership ultimately comes down to trust. When people feel respected, supported, and part of a cohesive team, the collaboration strengthens and the work reflects that.

Elliana Bertrand on the set of her film The Feather

Looking ahead, what kinds of projects are you most excited to explore as you continue building your career in film and television?

I’m excited by projects that push into more stylized, physical storytelling, especially in the space between body horror and comedy. I’ve always been drawn to work that explores the body in a heightened or unexpected way, and I’m currently developing ideas that integrate my background in Pilates, movement, and choreography into that world.

Alongside that, I’m continuing to step into larger assistant directing and producing roles, where I can deepen my ability to lead complex productions. I’m interested in building a career that balances strong execution on set with developing original projects that feel visually distinct and specific.

Connect with Elliana Bertrand on LinkedIn and Instagram at @ellianabertrand, follow updates on her thesis film The Feather at @thefeatherfilm, and learn more about her work at ellianabertrand.com.

(All images courtesy of Elliana Bertrand)

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Welcome to NYWIFT, Naomi Pemberton!

Naomi is a Bronx-born healthcare leader and storyteller whose work centers on resilience, faith, and the lived experiences of women navigating complex systems and personal transformation. An Afro-Latina with Jamaican and Dominican heritage, Naomi brings more than 25 years of experience in healthcare administration into her creative work, drawing on real-world insight to shape powerful, socially conscious narratives.

Her writing includes the Paradigms of Life trilogy, a series that explores sisterhood, identity, systemic challenges, and personal growth. Her books—including The Paradigms of Life: Sisterhood, Loss, and Unbreakable Bonds, Paradigms: The Experiment, and Life Paradigms: Work-Life Balance—follow women navigating betrayal, bias, ambition, and healing.

Through her storytelling, Naomi blends emotional depth with broader social commentary, addressing issues such as workplace bias, faith, and the pursuit of balance in a demanding world.

In addition to her writing, Naomi continues to mentor, lead, and inspire through her professional and community work. A dedicated advocate for underserved communities, she has held senior roles across healthcare systems and nonprofit organizations focused on health equity and community engagement, and serves on Bronx Community Board 11.

Across healthcare, literature, and media, her mission remains the same: to create impact, amplify voices, and inspire the next generation of leaders and storytellers.

In our interview, she reflects on her journey as a healthcare leader and author, the inspiration behind her book trilogy, and how storytelling can be a powerful tool for advocacy.

NYWIFT Member Naomi Pemberton

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

I’m Naomi Pemberton, a Bronx–born author, healthcare leader, and community advocate. I’ve spent over 25 years working in healthcare administration, focusing on health equity, access, and community engagement. 

I’m also the author of the Paradigms of Life trilogy, where I explore themes of resilience, faith, identity, and the lived experiences of women navigating personal and professional challenges. Everything I do whether in healthcare or storytelling, is rooted in creating impact and empowering others.

What brought you to NYWIFT?

I was drawn to NYWIFT because of its commitment to supporting women in media and storytelling. As I transition my work into television and film, I wanted to be part of a community that uplifts women creatives and provides opportunities for collaboration, mentorship, and growth. 

NYWIFT represents the kind of space where stories like mine—and the voices behind them—can truly be seen and heard.

NYWIFT Member Naomi Pemberton

Much of your work centers on women, balance, and advocacy. Why are these themes particularly important to you?

These themes are personal to me. As a woman balancing career, family, leadership, and purpose, I understand how complex that journey can be. 

Through my work, I highlight the realities many women face—workplace challenges, bias, relationships, and self-discovery—while also emphasizing strength, faith, and resilience. Advocacy is at the core because I believe women’s stories deserve to be told authentically and without limitation.

You’re passionate about empowering underrepresented voices and using storytelling as a tool for healing and advocacy. How do storytelling and representation show up in your work as a manager and CEO?

In my professional role, storytelling shows how we understand and serve people. Whether it’s through patient experiences, community engagement, or addressing social determinants of health, every data point represents a real story. 

As a leader, I make it a priority to ensure those voices are heard and reflected in decision-making. Representation matters not just in media, but in how systems are designed and how care is delivered.

NYWIFT Member Naomi Pemberton

From your perspective, what are some of the biggest challenges facing healthcare systems today when it comes to equity, and how can storytelling play a role in addressing them?

One of the biggest challenges is that health inequities are often deeply rooted in social and systemic issues—such as access, bias, and socioeconomic barriers. While data can highlight disparities, storytelling brings those realities to life. 

It humanizes the numbers and creates a deeper understanding of what patients experience. Storytelling has the power to influence policy, shift perspectives, and drive meaningful changes by making inequities impossible to ignore.

What advice would you offer to women and underrepresented leaders who are interested in pursuing leadership roles in healthcare, advocacy, and storytelling?

My advice is to embrace your full story, your experiences, your challenges, and your voice. Don’t feel like you must choose between being a professional and being creative; those worlds can coexist and even strengthen one another. 

Also, be intentional about building networks and seeking spaces like NYWIFT that support your growth.

Most importantly, stay grounded in your purpose—because when your work is aligned with your mission, your impact will follow.

NYWIFT Member Naomi Pemberton

What has been the most fulfilling project you’ve worked on so far? What made it significant for you?

Writing the Paradigms of Life trilogy has been one of the most fulfilling experiences of my life. These stories are deeply personal and reflect not only my journey but also the experiences of many women navigating life’s challenges. 

Seeing readers connect with the characters and find strength in their stories has been incredibly meaningful. It reminded me that storytelling is not just creative, it’s transformative.

Naomi Pemberton’s Paradigms of Life trilogy is now available on Amazon

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

I’m currently focused on adapting my books into television and film, which is an exciting next step. I believe these stories have strong potential for visual storytelling, with rich characters and meaningful themes that resonate across audiences. 

I’m looking forward to collaborating with creatives in the industry and continuing to expand into spaces where these stories can reach a broader audience.

Connect with Naomi Pemberton on LinkedIn and explore the Paradigms of Life trilogy on Amazon.

(All images courtesy of Naomi Pemberton)

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