Welcome to NYWIFT, Eve Rouverol! 

Eve came to filmmaking after a career as a newspaper reporter, commercial writer, and teacher of students with disabilities. 

After her children left for college (she is a single, widowed mother), she was able to return to college to pursue her first love, film. 

In addition to writing/directing student narrative and documentary shorts at CA College of the Arts and Emerson, Eve wrote, produced and directed the 35-minute film The Muse starring her actor daughter Madeline Rouverol. The film was nominated for Best Student Director at New Bedford Film Festival in 2023. 

Her screenplays Writer’s Block and Lolita Redux have been shortlisted by BlueCat and Scriptapalooza. Writer’s Block was selected for participation in the 2026 Stowe Narrative Labs. Lolita Redux was a semifinalist for Stowe Labs’ Writers’ Retreat Fellowship. 

Could you give our readers a brief introduction to yourself? 

I’ve been all about stories since coercing my parents to buy my tiny, stapled Bunny Family booklet at age seven. 

But I grew up in a time and place when filmmaking didn’t come up as a career option. So, I gravitated to other forms of storytelling. I worked as a features reporter for small neighborhood newspapers in the San Francisco Bay Area. I wrote marketing materials for business and art book publishing companies. And I wrote short stories and poetry – for myself…for competitions. 

It wasn’t until my kids left for college (my husband died young of cancer, so I was a single mom), that I was FINALLY able to pursue my true love, filmmaking. 

I was accepted into two Master’s film programs: California College of the Arts, San Francisco and later Emerson College, Boston. There I discovered a fit in the writer/director role. The writer piece matched my proclivity as an “observer,” and was an extension of writing I’d done in other forms. The director role harkened to managerial experience homed in my publishing days, and even my experiences as a single mother. 

What brought you to NYWIFT? 

When I began writing screenplays, a friend asked, “Did you know that there’s a screenwriting competition for women over 40?” Interest piqued, The Writers Lab competition was my first introduction to NYWIFT and its programs. 

I attended several online NYWIFT workshops as a non-member around the time of COVID. 

During my last trip to Brooklyn (I live bi-coastally), I decided to officially join this organization that offered such an impressive range of support services for its members. The spring saw me join the NYWIFT/Moonshot Initiative mixer and in the fabulous “Navigating Reinvention” NYWIFT Masterclass. 

Congratulations on being selected to attend the 2026 Stowe Narrative Lab! Tell us a little bit about that process and your experience. 

A pitch-oriented workshop for screenwriters in Vermont, Stowe Labs allowed a rare dip into the milieu of a caring artistic community. 

I drove up to the lovely town of Stowe where fellow screenwriters and I were treated to several days of insightful peer readings, practice pitching to industry representatives, and informative panel interviews featuring producers, entertainment lawyers, and streaming executives. I gained valuable insights into how my script was (and wasn’t) hitting the notes I intended. And I learned to get over myself and just pitch! 

I saw, gee, the highs and lows I was experiencing as a writer weren’t just mine, but shared. Always a big “WHEW” in that! 

Eve Rouverol At Stowe Narrative Labs

What was your inspiration behind Writer’s Block? 

The inspiration behind Writer’s Block was an experience I had after the death of my husband. 

To console myself, I’d regularly walk the path around a lake in my hometown. Doing that walk, I started noticing the memorial plaques on all the benches there, I let my mind wander and started to imagine what each of these people might have been like in life. These people who were gone, like my husband was. 

This gave me the idea of a mystery writer who, while walking around her lake, has a vision of a murdered young woman. She makes this woman the protagonist of her newest novel and becomes obsessed with the boyfriend police have since acquitted of the killing. Truth and fiction become tangled in her search for “the story,” and it isn’t clear until the end where true guilt and innocence lie. 

Is there a genre that you haven’t explored yet but would like to dive into in the future? 

My second script, Lolita Redux, is a drama (about a middle-aged literature professor who becomes obsessed with a young woman he feels must be his answer, his modern-day Lolita). 

My third script – and what I want to dive into more – is the psychological horror genre. Until Death Divides looks at how nostalgia over long-ago lovers poison a real-life marriage. 

Eve Rouverol with Director of Photography at New Bedford Film Festival for “The Muse”

As a screenwriter, what has been the hardest lesson you’ve had to learn? 

I am naturally super social. My family and friends are everything to me, and we all constantly touch base. A writer’s job, however, is isolated and demands lots of quiet, uninterrupted time. The aloneness, and at times sadness, I feel over this, is a constant struggle. 

Eve Rouverol on the set of her short film “The Muse” with her daughter, actor Madeline Rouverol

What do you hope audiences take away from your work? 

I write about themes that are deeply meaningful to me: creative theft of women’s work, male objectification of young women, the “haunting” involved with generational mental illness, to name a few. 

My hope is that audiences come away with a different window or style of telling these stories. A sense of resonance, perhaps also, with their own experiences. 

Connect with Eve Rouverol on LinkedIn or on Instagram at @erouverol.

(All images courtesy of Eve Rouverol)

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Welcome to NYWIFT, Maria Eleni Zollo! 

Maria Eleni Zollo is a writer, actor, director, and musician based in Astoria, Queens. 

As a singer, she has performed at the Norwegian National Opera House in Oslo, Carnegie Hall, Madison Square Garden, and on Saturday Night Live. 

She works as an adjunct professor at CUNY Baruch, and as a Greek Orthodox Church chanter at St George in Hell’s Kitchen and St Nicholas National Shrine at the World Trade Center.

Maria Eleni also performs as a stand-up comedian in NYC. 

Her first short film was a semifinalist in Stage 32’s 8th Annual Short Film Festival. 

Could you give our readers a brief introduction to yourself? 

I’m Maria Eleni Zollo – writer, actor, director and musician. I work as an adjunct music professor at CUNY Baruch and as a church cantor at two NYC churches, St George Greek Orthodox Church on 54th Street and St Nicholas National Shrine at the World Trade Center.

When I’m not working, I paint and craft for fun, head to the beach, and spend time with my husband, Parker, and our orange tabby cat, Daisy. 

What brought you to NYWIFT? 

After directing my most recent short, Nina, the lead actress, Carole DellAquila, suggested I join NYWIFT. She is a member and spoke very highly about the community this organization offers. 

How has your childhood shaped your career trajectory? 

This is a loaded question! Throughout my life, I have held so many different creative interests. I’m finally seeing the way my many creative passions can come together as a writer and director. My love of fine art, music, and storytelling fuels every stage of production. I used to see my many interests as a weakness, rather than a strength, because of my classical music background. I was often chastised for being unfocused and undisciplined.

Now that I’ve allowed my inner child to be interested in more than one subject at once, I feel like my creativity is much more alive and vibrant. While I did perform in operas, I was often left feeling unfulfilled because I wasn’t involved in other areas of production. Now, as a writer and director, I can allow myself to freely enjoy all forms of art and creativity. 

Maria Eleni Zollo performing stand-up comedy

What is your favorite aspect of storytelling? 

I love a good metaphor. I love when a story can transcend its literal meaning and apply to many other instances of daily life. The deeper search for meaning gives life purpose. 

How does your background in acting influence your writing and directing style? 

My background in acting is rather atypical. I was first trained as an opera singer and classical pianist. I think that training made me love extremely heightened stakes and deeply vulnerable emotions, both in comedy and in tragedy.

The emphasis on practice and preparation in classical music also has transferred to how I show up on set. I take pre-production very seriously. I want to be as prepared as possible so that when we are shooting the script all the technical aspects flow seamlessly and the actors and crew alike can just relax, be themselves and have fun. 

Maria Eleni Zollo singing with an orchestra

Do you gravitate to a particular theme or subject? If so, why? 

My most recent short and the script I’m working on now are both connected to fine art and real artists. I am also very interested in telling stories tied to specific locations. Both of these projects feature the workspace of the artist in the story.

I am also drawn to stories that are connected to religion and spirituality told through a female lens. These kinds of stories interest me because I feel they connect to our universal experience as humans. There’s something inexplicable about the human spirit that only the arts can fully express, many times without words. Like, I look at a painting or listen to a piece of music and then, something about the present moment makes a little more sense. It goes beyond words and explanations.

Maria Eleni Zollo works as Greek Chanter

What is a valuable lesson you wish you learned earlier in your career journey? 

I wish that I had learned that being a lifelong learner is way more important than being an expert in one, singular subject. I also wish that I knew how often others project their own fear of failure onto creative people, manifesting that fear as bad advice or overzealous caution. Trustworthy criticism and advice usually contain an action item and words of encouragement, not merely worries and “what if’s.” 

Connect with Maria Eleni Zollo on her website www.mariaeleni.online, on Instagram at @maria_eleni_33, Facebook @MariaEleniZolloSoprano, or on TikTok @maria.eleni.33.  

(All images courtesy of Maria Eleni Zollo)

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Welcome to NYWIFT, Lindsey Brannon!

Lindsey Brannon is a Brooklyn-based producer working across independent film and television. She is the Co-Founder of Doodyaar Productions and works in production and development at Darius Films, bringing a unique blend of creative producing experience and a strong background in finance, operations, and startups.

Lindsey has produced narrative shorts, managed productions as a Line Producer and UPM, and champions stories that elevate underrepresented voices. She also serves as Secretary of the Hollywood Radio & Television Society Associates New York Board and is an active member of NYWIFT, supporting emerging filmmakers and fostering creative community. 

Passionate about character-driven storytelling and championing underrepresented voices, Lindsey approaches her work with both strategic insight and a deep commitment to meaningful, impactful stories.

NYWIFT Member Lindsey Brannon

Tell us about yourself — what’s your elevator pitch?

I’m a producer based in Brooklyn working across independent film and television development. By day, I work in production and development at Darius Films, and I’m also the co-founder of Doodyaar Productions.

Before entering the film industry, I spent more than 15 years in finance, operations, and startups, which gave me a strong foundation in building systems, solving problems, and managing complex productions.

I’m passionate about championing bold, character-driven stories, particularly those that elevate underrepresented voices and create meaningful opportunities for emerging filmmakers. 

What brought you to NYWIFT?

As I transitioned into producing full-time, I was looking for a community of women who were passionate about supporting one another and building careers in film and television. NYWIFT immediately stood out because of its incredible network, educational programming, and commitment to lifting up women across every area of the industry.

I’ve loved meeting fellow filmmakers, volunteering at the Muse Awards, and continuing to grow alongside such an inspiring community. 

Lindsey Brannon on set

Congrats on launching Doodyaar Productions! What inspired you to start your own company, and what kinds of stories are you most passionate about telling through it?

Thank you! I co-founded Doodyaar Productions with writer-director Shayon Maitra because we wanted to create a home for stories that aren’t often given the spotlight. We’re passionate about character-driven films and series that explore identity, family, belonging, and the complexity of the human experience with humor and heart.

While we’re especially committed to amplifying South Asian, women, and LGBTQIA+ voices, our broader goal is to tell universally resonant stories that invite audiences into perspectives they may not have experienced before.

You’ve worked as both a Line Producer and UPM. How has that production foundation shaped the way you approach projects as a producer, both creatively and logistically?

Having a production background has completely shaped the way I produce. I love the creative side of filmmaking, but I also understand that creativity thrives when the logistics are solid. My experience in budgeting, scheduling, hiring crews, permits, contracts, and production management helps me anticipate challenges before they become problems.

I think of producing as creating an environment where everyone else can do their best work. When the production runs smoothly, directors and actors have the freedom to focus on the story.

Lindsey Brannon on set

Sandy looks incredible. What drew you to that project, and what was your experience like bringing it to life?

From the moment I read Sandy, I knew it was special. It tells the story of a young South Asian student navigating identity and belonging with humor, vulnerability, and authenticity. Those are exactly the kinds of stories I want to help bring into the world. It was also the first project produced through Doodyaar Productions, making it especially meaningful. Watching our team build the film from the ground up and seeing such talented artists come together around a shared vision has been one of the most rewarding experiences of my career.

What’s been one of the most challenging or defining lessons you’ve learned so far in your creative journey, and how has it shaped the way you move forward?

One of the biggest lessons has been learning that there isn’t one “right” path into this industry. I came to filmmaking after an established career in finance and operations, and for a while I wondered whether I was starting too late.

I’ve since realized that every experience I had before film has made me a stronger producer. I’ve learned to embrace my own journey, stay curious, keep learning, and focus on building genuine relationships. Those connections have opened doors I never could have planned for.

What exciting projects are coming up for you?

I’m currently producing several independent short films while continuing my work in production and development at Darius Films. I’m also developing a short film that I wrote and will direct, inspired by my own IVF journey.

Longer term, Doodyaar Productions is expanding its slate of feature and television projects, including stories centered on identity, family, and underrepresented communities. It’s an exciting season of building projects that I’m deeply passionate about.

Connect with Lindsey Brannon on Instagram at @lindsey_brannon and on LinkedIn.

(All images courtesy of Lindsey Brannon)

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Welcome to NYWIFT, Ayo Oti!

Ayo Oti is a media creative, social impact professional, and emerging filmmaker. 

She publishes Sounds Like Impact, a curated resource for social impact podcasting, and hosts Audio For Action Live. Previously, she produced for How to Save a Planet and Degrees: Real Talk About Planet-Saving Careers. 

Ayo is currently developing two documentary films: one exploring first-generation Nigerian identity and another examining African American creatives inspired by Mexico and its artistic practices. 

Beyond her own work, she collaborates on social issue documentaries as a producer, supporting projects across production, strategy, and impact distribution to help stories reach and engage audiences.

NYWIFT Member Ayo Oti (Photo Credit: Emma Paton)

Could you give our readers a brief introduction to yourself?

Hi! I’m Ayo, and I am a founder, strategist, host, publisher, director, and producer! Lots of different titles, but mostly I identify as a champion of content that creates change, a builder of systems, and a lover of art.

Ayo Oti on set (Photo Credit: Emma Paton)

What brought you to NYWIFT?

About two years ago, I attended an event hosted by NYWIFT when I was still exploring what a career in film could look like. However, in the past year, two things happened: I ended up working as a program administrator and partnerships manager for ReelAbilities Film Festival, and also, I began working on two film projects, one as a director and the other as a producer. 

So, I wanted to join this community to continue learning from experts in the field and to take advantage of opportunities that could help me grow my career and develop my projects.

Ayo Oti on set (Photo Credit: Emma Paton)

What led you to create your company, Unofficial Social Chair?

Well, I had always been interested in social impact and, unfortunately, learned pretty late in my career about impact producing. But during the pandemic, I pivoted from pursuing documentary film because of how film and television were impacted, and ended up in podcasting.

When I was hired to the podcast editorial team at Spotify it was to be the Social Impact Editor, meaning I was curating content about social issues and I was partnering with our social impact and sustainability teams to amplify causes using our platform during campaigns, such as National Voter Registration Day, Pride, Earth Day, and more.

I pretty quickly realized there was a way to incorporate impact producing for audio storytelling. I started my company after layoffs hit podcasting pretty hard in 2023, to keep amplifying social impact podcasts, and to help creators figure out how to tie their audio stories to direct impact. 

Why is it important for you to focus on diaspora storytelling and social issues?

My family’s story is a story of migration, so questions of identity and belonging have always felt personal to me. My father was born and raised in Nigeria, and my mother’s family traces migrations from Saint Martin, the Dominican Republic, and Barbados to New York.

Growing up, I became fascinated by what happens when people re-root themselves in new places—how migration reshapes identity, culture, memory, and creativity. That’s why I’m drawn to diaspora stories in particular.

The social issues side comes from the same place. I believe everyone deserves the opportunity to live with dignity, safety, and respect and to build a sense of home. For me, storytelling is one way of advancing that idea because the stories we tell influence whose experiences are understood, whose humanity is recognized, and how we imagine our responsibilities to one another. Those are the stories I want to spend my career telling.

What is the most fulfilling aspect of being a media entrepreneur and social impact professional? 

It is, admittedly, not an easy time to be in media, or social impact, but it’s still an exciting time, I think! When I hear stories of podcasts or films that have been used to get justice for individuals or communities, it’s a reminder of how powerful the media can be. 

What is the biggest lesson you’ve learned so far in your career?

Don’t be afraid to pivot. I’ve pivoted quite a few times in my career so far, mostly in terms of industry, but I have done some functional pivots as well. Every pivot is built on one another, so this idea that your past can’t be helpful if you change industries or job functions is just not true.

What project(s) are you currently working on that our readers should be on the lookout for?

I am producing a project for director Emma Jehle that we are both really excited about. It’s at the intersection of gender and sports, and we are hoping to get it done before the summer Olympics. Ambitious, I know! I can’t reveal too much now, but if your interest is piqued, please reach out to me. 

Also, I’m directing my first feature about African American artists from the early-to-mid 20th century who were influenced by Mexican artistic styles and the artists today who are developing their artistic practice inside Mexico. The plan is to raise money for both of these projects soon.

Connect with Ayo Oti on LinkedIn, Substack @unofficialsocialchair, on Instagram at @unofficialsocialchair, or on her website unofficialsocialchair.com.  

(All photos courtesy of Ayo Oti)

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Welcome to NYWIFT, Allie Delury! 

Allie Delury is an award-winning producer and director known for Fault (Tribeca 2026), The Last Goodbye (AFF 2025), Tender Thoughts (Tribeca 2024), and Ivy Grace (CNN NBC Nightly). 

She was featured on the cover of MovieMaker Magazine for producing All Is Well in 48 hours and has also been to over 100 countries, done vanlife in Australia, sailed around the world, and worked as a combat camera officer in the Air Force. 

She now owns Work Our Way Productions, a 100% veteran owned-and-operated production company in Brooklyn. 

Could you give our readers a brief introduction to yourself? 

I’m a bit of a black sheep when it comes to the film industry. In 2008, I was convinced I would be the next Erin Andrews, and was working in sports media as a camera operator and sideline reporter (Big Ten Network, Fox Sports North, etc). But when the 2008 financial crash happened, I thought – I picked the wrong career field and am destined to be poor forever. Which in hindsight is hilarious given the current state of filmmaking in 2026. So, in a desperate act to save myself financially, I joined the military. 

In 2012, I commissioned as a second lieutenant in the Air Force and worked primarily as a combat camera officer, where I taught (mostly dudes) how to document combat from the air, ground, and underwater. I got to travel around the world and document combat operations internationally, so those three-to-five years were essentially my film school. 

After I left the service, I worked primarily as a filmmaker for major travel clients like Tastemade, Thrillist, AirBnb, Booking.com, etc., creating content while jet-setting the world on my own dime. I traveled to over 100 countries and lived out of a van twice (once in Australia during the 2020 bushfires, and once in Mexico while pregnant). I also sailed around the world and competed in some of the most remote and difficult endurance races, including the hardest marathon in the world (Inca Trail Marathon in Peru) and Ironman Cozumel. 

When COVID hit and both travel and filmmaking gigs vanished, I found myself once again in a financial pickle. I decided to take a LinkedIn course on food photography so I could offer free food photography to all the restaurants in NYC in exchange for their food. Despite having no previous film industry experience, I applied to produce a short film with the Women’s Weekend Film Challenge (now Moonshot Initiative). To my shocking surprise, they accepted me, and I spent the next few weeks googling “how to be a movie producer.” After that, the work started flowing, and I went from a nobody in the industry to walking the red carpet and accepting 15+ festival awards within a year. 

What brought you to NYWIFT? 

What brought me to NYWIFT is its emphasis on connection. It’s the reason I was able to say, “I bet I can produce a movie,” and do it without starting as a production assistant, then a coordinator, then a manager, etc. My varied life experience set me apart and gave me the confidence to step into a difficult role, and being involved in a similar community has been an absolute dream for me.

Plus, I’m drawn to cool stories, and the women in this organization have seen and experienced things that blow my mind. I wish we could make a movie about everyone, and if we could, I would start at NYWIFT. 

What prompted you to create Work Our Way Productions? 

Work Our Way started in 2019 as a comedy podcast that my husband and I hosted while living out of a van in Australia. I was working as a full-time travel freelancer at the time, and he was touring as a comedian. We documented (and showed off) every aspect of our lives until the 2020 bushfires hit.

When the country was on fire, we traveled to Cobargo to volunteer for a few weeks with Team Rubicon and Blazeaid. It was a harrowing and humbling time that directly contrasted our travel influencer lifestyle. Going from that experience, to witnessing the COVID shutdowns, and then being dramatically kicked out of the country and forced to relocate to the epicenter of it all (NYC) – it was a lot. So, we ended the podcast to focus on surviving the next few years in the city. 

During that time, I was asked to produce/direct a short documentary in one day about two women from South Carolina and their abortion experiences before and after the fall of Roe v. Wade. Six weeks after it ran on CNN, NBC Nightly and People Magazine, the South Carolina Supreme Court temporarily overturned its six-week ban on abortion.

It was in that moment that I realized I wanted to make this a living, so I decided to open Work Our Way Productions and keep the comedy podcast name to pay homage to our time in Australia and feeling fearless and free in my work. 

From storytelling to serving in the Air Force to world traveling, what fuels your drive to live life to the fullest? What advice would you give readers looking to get more out of their life? 

Truthfully, I probably saw this quote on a candy wrapper or something equally as trivial. But it’s – my biggest fear is looking back on my life and wondering what I did with it. As someone who used to jump out of planes in the military, I don’t fear much. But I do fear the future, and whether or not I’ll be proud of the person I’ve become between now and then. For me, it’s a daily meditation. Am I better than I was yesterday? Am I closer to my goals? Is my paycheck slightly bigger? Am I happier, regardless? 

I have always believed that most of the red tape we envision in our lives – the thing that holds us back, limits us, or tells us no – is self-made. We often assume we cannot do something or that things must be done a certain way to succeed in the industry. I didn’t do any of that. I didn’t go to film school, and I never worked on a narrative set before saying “hell, let’s see if I can produce something like this.” I just went for it and braced myself for the rejection. To my surprise, the rejection never came. And I can’t help but wonder how beautiful life would be for so many people if they embraced rejection the same way they embrace success. Both are beautiful outcomes, and the reason I’m exactly where I’m meant to be today. 

What is your approach to overcoming setbacks and challenges? 

The first is not being afraid to pivot. I hate how people equate that to failure. If you are driving down the road and see a fallen tree blocking the way, it would be absurd to try to continue moving forward and drive over it. Just turn around and find another way. You’ll still reach the destination, it just won’t be how you originally planned. It’s crazy that we don’t have that same sensible approach when we look at our careers. 

We think, ‘I’ve invested so much time and effort into this, I have to keep going and endure!’ No, you don’t! Some of the best things that have happened to me in my life happened shortly after immeasurable failure and uncontrollable circumstances. And it was because of my ability to let go and trust the process that I was able to navigate through it and come out stronger on the other side. 

The second is diversifying your talents. You are not a one-track human. You have many talents and interests, so get weird with it. In the same way you should be diversifying your income, you should be diversifying your talent. I didn’t know anything about food photography, but I was hungry and I knew how to use a camera, so I gave it a go and it allowed me to meet some of the coolest humans in NYC. I didn’t have family in the military, but I decided to commission as an officer because I wanted to get paid to travel the world and learn cinematography for free.

All of those risks I took when I was young allowed me to have a comfortable life in film, where I get to be my own boss, take on projects that resonate with me, and spend way more time with my family than any traditional 9-5 job would allow.

What is the most valuable lesson you’ve learned about yourself through your travels? 

I’ve climbed many literal and figurative mountains throughout my life, but I think it all comes down to yet another candy bar quote: ‘Never judge the height of a mountain until you have reached the top. Only then will you see how small it was.’

I’ve learned that these immeasurable and impossible opportunities are ours for the taking if we commit to them. Put in the work. Make those uncomfortable phone calls. Use the money that you would spend on StaffMeUp to treat someone in your network to coffee. Do things with intention and only ever compare yourself to who you were yesterday. No one else. 

What was your most exciting experience? What goals do you plan on achieving in the future? 

Take me out to coffee and I’ll tell you! [Laughs] But seriously, I doubt I can pick just one experience. I’ve lived many lives and remain so thankful for how life continues to surprise me. 

As for my goals? I’d love to be an old lady sipping some prosecco on a yacht in Monaco, bragging about my recent screening at Cannes while watching the sunset with my family. But I’d also be happy not changing a thing. Simply closing my laptop after writing this final paragraph so I can take my boys to the playground, hug my incredible husband, and look back on my life for a moment. Never needing to wonder. 

Connect with Allie Delury on her website alliedelury.com or on Instagram @workourwayproductions or @alliedelury. 

(All images courtesy of Allie Delury)

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Toronto was glowing with the incredible energy of film festival season when LaKisa Renee and Tammy Reese, members of New York Women in Film & Television (NYWIFT), arrived to cover the 2026 Toronto International Film Festival (TIFF).

The festival represented another opportunity to step inside the world of cinema, connect with filmmakers and talent, and bring audiences closer to the stories making an impact on the international film stage.

Among our TIFF highlights was the highly anticipated red carpet premiere screening of Amazon MGM Studios’ Love of Your Life—an evening that would take us from the glamour and excitement of the red carpet to an intimate celebration with the film’s cast and creative team.

Held at Toronto’s historic Royal Alexandra Theatre, the premiere brought together an impressive ensemble of talent, including Margaret Qualley, Aaron Pierre, Gabriel Basso, Patrick Schwarzenegger and Catherine Keener, alongside director Rachel Morrison and screenwriter Julia Cox.

But beyond the glamour, flashing cameras and festival excitement was a deeply human story about love, loss, grief and the possibility of finding yourself again.

A Story About Love After Loss

Written by Julia Cox and directed by Rachel Morrison, Love of Your Life follows Maya, played by Margaret Qualley, a Boston nurse whose life is transformed by a romance with Charlie, portrayed by Gabriel Basso.

When tragedy abruptly ends their relationship, Maya is forced to confront a future she never imagined having. Her journey takes her away from home and across the world, including Portugal, as she attempts to process grief, rediscover herself and determine what it means to open her heart again.

Along the way, she meets Felix, played by Aaron Pierre, whose arrival introduces an entirely different possibility for Maya and forces her to confront whether moving forward means leaving the past behind or learning how to carry it differently.

The film explores love, heartbreak, grief, friendship, identity and self-discovery, ultimately expanding the meaning behind the phrase “love of your life.”

It isn’t simply about finding another person.

It is about discovering that sometimes the most important relationship you rebuild after loss is the one you have with yourself.

A Cast Filled with Rising and Established Stars

At the center of the film is Qualley, whose performance carries Maya through some of the story’s most vulnerable moments. Alongside her is Pierre, whose star continues to rise at remarkable speed.

Pierre has built an increasingly impressive résumé, with credits including The Underground Railroad, Genius: MLK/X, Rebel Ridge, and Disney’s Mufasa: The Lion King. His performance in Rebel Ridge further established him as a major leading man, while his role as the voice of Mufasa introduced him to audiences around the world.

He also received the Rising Star Award at the 2025 American Black Film Festival Honors.

Pierre is now entering another major chapter, portraying John Stewart/Green Lantern in HBO’s Lanterns and appearing as the character in DC Studios’ Man of Tomorrow, while also being attached to the upcoming Star Wars: Starfighter.

Yet in Love of Your Life, the superhero spectacle gives way to something much more intimate. Pierre gets to explore the complexities of human connection and the possibility of love entering someone’s life after profound loss.

The ensemble is rounded out by Gabriel Basso as Charlie, Patrick Schwarzenegger as Jason, and acclaimed actress Catherine Keener, among others. Patrick is the son of Maria Shriver and Arnold Schwarzenegger. He also starred in the most recent season of The White Lotus.

Behind the Lens: Rachel Morrison

Before taking the director’s chair on Love of Your Life, Morrison established herself as one of the industry’s most accomplished cinematographers.

Her cinematography credits include acclaimed films such as Fruitvale Station; Dope; Mudbound; What Happened, Miss Simone?; and Marvel Studios’ Black Panther.

Her work on Mudbound made history when she became the first woman nominated for an Academy Award for Best Cinematography, and Black Panther marked another milestone as the first Marvel superhero film shot by a woman cinematographer.

The Q&A: Taking the Conversation Beyond the Screen

Following the screening, the audience had the opportunity to hear directly from the filmmakers and cast during the post-screening Q&A.

The conversation opened another window into the film, allowing attendees to hear more about the creative process, the emotional themes at its center and what it meant to bring Maya’s journey from the page to the screen. The discussion gave the film’s themes of grief, healing, love and self-discovery an even more personal dimension.

An Intimate Celebration Presented by Amazon

Following the screening and Q&A, we headed to an exclusive, invitation-only intimate afterparty presented by Amazon Prime Video.

The atmosphere was a beautiful contrast to the energy of the red carpet. Instead of the rush of photographers and festival crowds, the celebration created space for relaxed conversation, photographs, laughter and genuine interaction between the cast, filmmakers, media and industry guests.

Members of the Love of Your Life cast were in attendance, including Qualley, Pierre, Basso, Schwarzenegger, and Keener, along with director Morrison and members of the creative team.

LaKisa Renee and Tammy Reese take photos with Aaron Pierre and Patrick Schwarzenegger

We had the opportunity to take photos and interact with members of the cast, creating personal moments that went beyond simply covering the event.

A heartfelt thank you goes to the cast and creative team of Love of Your Life for sharing their work and their time, the Toronto International Film Festival staff, and especially Grave, Natalie, and Emily, for their warmth, professionalism, and hospitality throughout the experience.

For those who didn’t have the opportunity to experience Love of Your Life at TIFF, the wait is almost over.

The film is scheduled for a limited theatrical release beginning October 7, 2026, before arriving globally on Prime Video October 14, 2026.

For more information, please visit: https://tiff.net/films/love-of-your-life

(Photo Credit: LaKisa Renee, Tammy Reese / Video Credit: LaKisa Renee)

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Welcome to NYWIFT, Christine Oliva-Castillo!

Christine Oliva-Castillo is a licensed clinician and award-winning screenwriter with over two decades of experience in substance abuse disorder treatment and public health. Drawing on lived experience and clinical expertise, she writes stories that challenge how we see addiction, recovery, and the systems people navigate to survive both.  

Her feature screenplay Worthy has earned recognition at the Toronto Female Film Festival, Love Wins Film Festival, Page Turner Awards, LGBTQ Unbordered International Film Festival, and the Script Hall of Fame, among others.  

She is currently producing YTHROW, a short film set over one night in a county jail holding cell — a story of hope that honestly confronts the barriers standing between people and the care they deserve. 

Could you give our readers a brief introduction to yourself? 

I’m a licensed clinician and award-winning screenwriter with over two decades of experience in substance abuse disorder treatment and public health. I’m currently producing YTHROW: also known as Worthy the Short – a short film set over one night in a county jail holding cell. 

What brought you to NYWIFT? 

I came to NYWIFT because I needed a community of women who understand what it means to build something from the ground up. The intersection of storytelling and advocacy can be a lonely place. NYWIFT felt like the right room to be in. 

What led you to become so passionately committed to helping and advocating for those suffering with substance abuse and mental health disorders? 

Lived experience. I’ve sat on both sides of the clinical relationship in substance abuse disorder treatment, and that shapes everything I do. The work stopped being abstract a long time ago. 

How do you use storytelling to further spread awareness surrounding addiction? 

I write characters, not cases. The moment an audience stops seeing a label and starts seeing a person, something shifts. That shift is the whole point. 

What is a common misconception about substance abuse and mental health disorders? How does your work and storytelling help change this narrative? 

That treatment is equally accessible to everyone who needs it. It isn’t. Barriers to getting into care and staying in it are real and often invisible to people outside the system. Storytelling closes that gap. You can argue with a statistic. You can’t argue with someone’s face. 

Tell us about a project you’ve created that was the most rewarding/fulfilling. 

YTHROW. It’s the first time I’ve put everything I know and everything I’ve lived into one piece of work. Watching women on screen hold each other up in a place designed to break them down, that’s the story I was meant to tell. 

What overall impact do you hope to have? 

I want YTHROW to start conversations that change how we treat people in crisis. I want it in the hands of clinicians, corrections staff, and educators who are ready to reimagine what compassionate, effective care looks like. And I want it to open the door to Worthy — a feature that takes that conversation even further. 

Connect with Christine Oliva-Castillo on her website jointheworthy.com, on LinkedIn, or Facebook.

(All photos courtesy of Christine Oliva-Castillo)

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Welcome to NYWIFT, Laura Pribanić!

Laura Pribanić is a Croatian film and television producer currently based in New York City. She holds a Master’s degree in Film and TV Production from the Academy of Dramatic Arts in Zagreb.

Throughout her career, Laura has worked on feature films, television productions, commercials, and international projects, specializing in production coordination, logistics, and on-set management.

Passionate about storytelling, human connections, and cross-cultural collaboration, Laura is particularly drawn to stories that explore universal emotions while remaining rooted in authentic local experiences. Through her work, she aims to bridge cultures and bring compelling stories from Croatia and the Balkans to a wider international audience.

As she continues building her career in New York, Laura is focused on collaborating with inspiring filmmakers, contributing to ambitious productions, and growing within the global film industry.  

New NYWIFT Member Laura Pribanić.

Could you give our readers a brief introduction to yourself?

I’ve always found it challenging to introduce myself in just a few sentences because I don’t think people can be summed up by a job title or a short bio. Like most people, I’m full of contradictions—and I’ve learned to embrace them.

I’m someone who genuinely enjoys silence, slow living, and spending time alone, yet I thrive in the fast pace of production, busy schedules, and meeting new people. I believe life happens in the present moment, even though I sometimes catch myself overthinking. I believe everyone should have the freedom to live life on their own terms, while at the same time I naturally care deeply about the people around me and often find myself wanting to help. 

I’m also someone who rarely stays in one place for long. Traveling, discovering new cultures, and meeting people from different backgrounds have shaped who I am and continue to inspire me. Yet no matter where I go, Croatia will always be the place where I feel most at home.

I think the best way to describe myself is as someone who’s constantly trying to replace “either-or” with “both-and.” I don’t believe we always have to choose between ambition and balance, work and life, or dreaming and doing. I believe it’s possible to embrace both.

Professionally, I’m a film and television producer from Croatia, currently based in New York. I recently completed my Master’s degree in Film and TV Production at the Academy of Dramatic Arts in Zagreb. Throughout my career, I’ve worked on feature films, television productions, commercials, and international projects, primarily in production coordination and management.

At one point, I realized that both my professional and personal life were asking me to take a leap. That leap brought me to New York, where I’m excited to continue building my career, collaborating with inspiring people, and telling stories that connect across cultures.

NYWIFT Member Laura Pribanić on set.

What brought you to NYWIFT?

I believe every new beginning comes with a certain amount of uncertainty, especially when you’re starting over in a new country and building a professional network from scratch.

When I discovered NYWIFT, it immediately felt like the perfect first step. I saw it as a welcoming community where I could meet people who share the same passion for film and television, learn from experienced professionals, and begin building meaningful connections within the New York industry

What especially drew me to NYWIFT was the fact that it’s a community of women supporting women. There’s something incredibly encouraging about being surrounded by talented, ambitious women who genuinely want to help one another grow. As someone who had just arrived in New York, that sense of support and belonging meant a great deal to me and it made joining NYWIFT feel like a very natural decision.

Laura Pribanić after graduation.

What aspects of your life and background have motivated the stories you want to tell?

I’ve always believed that our most difficult and painful life experiences often become one of the greatest sources of creativity. Whether those experiences happen to us personally or to the people we love, they have the power to reveal something deeply human. Those are the kinds of stories I’m naturally drawn to – stories that explore change, loss, identity, belonging and the relationships that shape us.

That idea became the foundation of my Master’s graduation project, Projekt Rast(anak) (“Farewell”), which explores the universal experience of separation through several interconnected stories. At its core, the project explores emotions that transcend borders – saying goodbye, letting go and finding the strength to move forward. 

Growing up in Croatia and the Balkans has also profoundly shaped the stories I want to tell. Our region has a unique mentality, a rich cultural heritage and a complex history that has left its mark on generations of people. Family dynamics, social expectations, unspoken emotions, and inherited patterns are all deeply woven into everyday life. While they can often be challenging to navigate, they also create incredibly layered and compelling characters.

I think the Balkans remain somewhat mysterious to many people outside the region. Too often they’re viewed through the lens of history or stereotypes, when in reality they’re full of warmth, resilience, humor, contradictions, and deeply human stories. I believe our local stories carry universal themes that can resonate with audiences anywhere in the world.

My hope is to introduce international audiences to a side of the Balkans they rarely get to see – not through stereotypes, but through intimate, character-driven stories that reveal both the beauty and the complexity of the region.

Laura Pribanić and team.

What characteristics of your experiences as an international filmmaker shape your production process?

Working on productions in different environments has taught me the importance of adaptability, communication, and teamwork. Every production has its own challenges, and I’ve learned how to stay organized while remaining flexible when unexpected situations arise. Being an international filmmaker has also made me appreciate different working styles and perspectives, which I believe leads to stronger collaboration and ultimately better productions.

What is the most fulfilling aspect of working both in film and television for 8+ years?

For me, the most rewarding part is seeing an idea evolve from a script into something tangible that audiences can experience. I enjoy being part of the entire process, especially the collaborative nature of production, where every department contributes to the final result. I also find great satisfaction in solving logistical challenges behind the scenes and creating an environment where creativity can thrive.

What I find equally fascinating is working with people. A film set brings together individuals with different personalities, experiences, creative approaches, and ways of working. As someone in production, you’re constantly balancing priorities, solving problems, managing expectations, and making sure everyone can do their best work. In many ways, production is about understanding people just as much as it is about understanding schedules and budgets.

It’s one of the most challenging aspects of the job, but also one of the most rewarding. Every project teaches me something new – not only about filmmaking, but about communication, leadership, and human nature.

NYWIFT Member Laura Pribanić and team member.

What is the biggest lesson you’ve learned so far in your career?

One of the biggest lessons I’ve learned is that filmmaking is fundamentally about people. Technical skills and organization are essential, but strong communication, trust, and respect within a team are what truly make productions successful.

I’ve also learned that sometimes the most valuable thing you can do is not to immediately provide an answer or a solution, but to truly listen and understand what someone is trying to communicate. Production is full of unexpected challenges, and while every problem eventually finds a solution, the way people feel throughout the process stays with them. 

As I continue building my career, one of my biggest goals is to create working environments where people feel valued, respected, and seen – not just as another name on a call sheet. In an industry that moves quickly and often operates under pressure, I believe it’s important to never lose empathy and to remember that, above everything else, filmmaking is a human process.

What project(s) are you currently working on that our readers should be on the lookout for?

Since moving to New York, I’ve been focused on building relationships within the local film community while continuing to develop new projects with collaborators from Croatia and the Balkan region.

My long-term goal is to create international co-productions that combine regional stories with universal themes, making them accessible to audiences beyond our part of the world.

Alongside that, I’m continuing to pursue opportunities in production coordination on feature films and scripted television projects, while expanding my network within New York’s film industry.  

Connect with Laura Pribanić at laurapribanic@hardiproduction.com, on Instagram at @laurapribanic, and learn more about her project Projekt Rast(anak) (“Farewell”) at https://rastanak.com/o-projektu/.

(All images courtesy of Laura Pribanić) 

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The Toronto International Film Festival is always filled with memorable moments, from the excitement of the red carpet to the conversations that continue long after the credits roll. This year, one of those moments came on Sunday, September 13, when Jesse Eisenberg’s The Debut made its International Premiere at the VISA Screening Room at the Princess of Wales Theatre.

NYWIFT members LaKisa Renee and Tammy Reese were invited to attend the premiere, and had the opportunity to watch Eisenberg and Academy Award winner (and 2005 NYWIFT Muse Honoree) Julianne Moore walk the red carpet before entering the theatre to introduce audiences to this smart, darkly funny story about finding purpose in an unexpected place.

Written and directed by Jesse Eisenberg, The Debut centers on Mona Friedman, portrayed by Moore, a suburban housewife who has become increasingly bored and dissatisfied with the routine of her everyday life. When an opportunity to audition for a community theatre production presents itself, Mona decides to take a chance.

What starts as a simple audition quickly becomes something much more meaningful to her when she lands a role in the production.

For Mona, acting isn’t simply a new pastime. It becomes a source of excitement, identity, and purpose. She begins putting everything she has into her performance, determined to get every detail right. Her commitment, however, begins to move beyond enthusiasm as she becomes increasingly consumed by the need to deliver what she believes could be her defining performance.

At the center of it all is Moore, whose performance gives Mona both the humor and emotional depth that make her journey so compelling. Moore captures a woman who is searching for something that feels like it is truly hers, and once she discovers acting, she gives herself completely to it.

The film cleverly explores the familiar theatrical idea that there are no small parts, only small actors, while asking what happens when someone takes that philosophy to the extreme. Mona’s experience becomes a larger exploration of passion, identity, ambition, and the sometimes complicated line between finding something you love and becoming consumed by it.

The ensemble also includes Halle Bailey, Cara Buono, and legendary performer Bernadette Peters. 

The film is produced by Emma Stone, Dave McCary, Ali Herting, and Eisenberg, with A24, Fruit Tree, and Topic Studios behind the production.

For us, (LaKisa and Tammy), being at the TIFF premiere was another special experience and an opportunity to celebrate the artists who continue to bring new stories and perspectives to audiences. There is something uniquely exciting about seeing filmmakers and performers arrive on the red carpet and then watching their work come to life inside the theatre just moments later.

The Debut ultimately uses the world of community theatre to tell a much broader story about what it means to feel stuck, take a chance, and discover something that gives life a renewed sense of purpose.

Mona’s journey may begin with an audition, but what she finds along the way is much bigger than a role on a stage. It is a reminder that creativity can open unexpected doors — and sometimes, the things we initially pursue simply to escape our routine can reveal something about ourselves that we never knew was missing.

At TIFF, a festival built around discovering new stories and celebrating the people courageous enough to tell them, The Debut proved to be a fitting addition to the lineup.

The Debut is directed and written by Jesse Eisenberg and stars Julianne Moore, Paul Giamatti, Halle Bailey, Jesse Eisenberg, Cara Buono, Craig Bierko, Eldar Isgandarov, and Bernadette Peters. The film runs 105 minutes and is distributed in the United States by A24 and in Canada by Elevation Pictures.

For more information please visit: https://tiff.net/films/the-debut

(Images courtesy of A24; Video Credit: LaKisa Renee)

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Welcome to NYWIFT, Zineb Oukach!

Zineb Oukach is a Moroccan actress, writer, and filmmaker. She began her acting career in Morocco before moving to Paris to study theater at Le Cours Florent. 

She later relocated to New York City, where she has worked across film and television, including the feature film Rendition alongside Reese Witherspoon, Jake Gyllenhaal, Meryl Streep and Alan Arkin. In recent years, Zineb has expanded into writing and directing. 

Her short films Interruption and Fresh Kills both earned Oscar qualifications in 2023 and 2025. After watching Interruption, Sigourney Weaver praised Zineb’s work as a filmmaker. 

Zineb is currently writing a period drama TV series. 

New NYWIFT Member Zineb Oukach

Could you give our readers a brief introduction to yourself?

I was born and raised in Morocco, and I’ve called New York City home for the past 15 years. I started my acting career in Morocco, then studied theater in Paris before moving to the United States for work. I’ve been working as an actor, and for the last three years, alongside my acting career, I’ve written and directed my own films. 

New NYWIFT Member Zineb Oukach is part of a panel.

What brought you to NYWIFT?

After making my first short film as a writer and director, I realized how valuable a strong creative community is. Most of my cast and crew were women, and that experience showed me the importance of supporting one another and sharing our stories.

Since New York is home to me, joining NYWIFT felt like a natural way to connect with other women in our industry, continue learning and contribute to the creative community we have. 

Zineb Oukach at Cinema Village

How has your Moroccan identity inspired your way of storytelling?

Being Moroccan shapes the way I see every story I tell. For example, in my short film Interruption, I explored the overturn of Roe v. Wade through the lens of its global impact, especially on women in North Africa. 

Today, I’m also developing stories rooted in the history and legacy of North Africa, including stories that have shaped my own heritage. My identity doesn’t define the subject matter, but it always influences the questions I ask and the perspective I bring to the story. 

Interruption By Zineb Oukach

What films, actors/actresses, and stories have inspired your way of writing and creating? 

It’s difficult to choose because I’ve been inspired by so many filmmakers, actors, and stories over the years. If I had to pick a film that shaped my visual language, it would be L’Avventura by Antonioni. I’ve watched it many times, and its image composition has had a lasting influence on the way I think about framing. 

As an actress, I’ve always admired Monica Vitti. Her performance in The Red Desert has stayed with me. She is also a talented comedian. 

When I begin writing a film, I usually keep one or two reference films in mind. For my short film Interruption, one of the biggest inspirations was the German film Barbara by Christian Petzold. 

For Fresh Kills, I looked to the spirit of the French New Wave, especially A Bout de Souffle by Godard. I was working with a very limited budget and shooting in New York City without permits, which naturally gave the film a raw, spontaneous energy. I decided to embrace that by shooting in black and white and framing the film in a square aspect ratio. Unlike my first film, which I shot in scope to give it a more expansive, Western feel, Fresh Kills is set within the city, so I wanted a more intimate and constrained visual language.

Zineb Oukach attending the New York Short International Film Festival

What is the most fulfilling aspect of being a performer and artist? 

The most fulfilling aspect of being a performer is feeling alive and free. You get to step into the lives of people who are completely different from you and see the world through their eyes. You have to understand them, have empathy for them, and defend them without judging them. I think that expands your heart and makes you more compassionate. 

What is the biggest lesson you’ve learned so far in your career?

The biggest lesson I’ve learned is to stay consistent and never give up. Keep doing the work every day, trust the process, and don’t lose sight of why you started.

Zineb Oukach in Wolf of Wall Street

What project(s) are you currently working on that our readers should be on the lookout for?

Right now, I’m writing a period drama TV series, which is very exciting. It’s in the development phase, so I can’t share too much about it yet, but I hope I’ll be able to soon. 

Connect with Zineb Oukach on Instagram at @zineboukach

(All images courtesy of Zineb Oukach)

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