Welcome to NYWIFT, Fozhan Gharib!

Fozhan (Fou) Gharib is a New York-based filmmaker, editor, and screenwriter who transitions seamlessly between performance and cinematic storytelling.

After studying for her Master’s in Screenwriting at the University of Tehran, she relocated to the U.S. in 2023, earning a Master’s in Media Studies from The New School.

Her work weaves psychological drama with a deeply poetic exploration of memory and resilience. Fou’s recent award-winning narrative short, Night of Melancholia, has screened at prestigious festivals globally and across New York City, cementing her voice as a vital new force in independent cinema.

In our interview, Fozhan discussed her journey into filmmaking, the various inspirations behind her work, and her passion for building her projects from the ground up.

NYWIFT Member Fozhan Gharib

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

My name is Fozhan Gharib, but I usually go by Fou. I come from a rich acting background in theater and short films back in Iran, which deeply shaped my understanding of performance and character. My passion for the craft led me to study for my Master’s degree in Screenwriting at the University of Tehran.

In August 2023, right as I was about to defend my thesis, I made the life-changing move to the United States to pursue a second Master’s in Media Studies at The New School. Moving here allowed me to fully branch out into directing, taking everything I learned from acting and dramatic writing and channeling it into a singular visual language.

NYWIFT Member Fozhan on film monitor.

What brought you to NYWIFT?

As a female filmmaker building a new life and career in New York, finding a community of like-minded, supportive creators is everything. I’ve been told by like-minded creators  how incredible NYWIFT is, and joining was an absolute priority for me.

To me, organizations like NYWIFT are crucial because they don’t just champion women in film; they create a sacred space for our unique perspectives, give us the resources to amplify our voices, and build a creative sisterhood that pushes the boundaries of independent cinema.

Fozhan with her crew on set.

How has your Iranian identity inspired your way of storytelling?

My heritage heavily influences my focus on memory, poetic resistance, and nostalgia. Coming from a country that is constantly under the global microscope forces a unique kind of resilience onto you. I lived through the Woman, Life, Freedom movement first-hand; I was on the ground, in the streets, and even stood in the line of fire.

That raw reality directly inspired my recent thesis film, Night of Melancholia, a political psychological drama that explores that very survival. Seeing it embraced by the Big Apple Film Festival, the New York Short Film Festival, Cannes Indie Shorts, Independent Shorts Awards has been deeply validating.

My identity isn’t just a backdrop, it is a vital part of my creative DNA that drives me to transform collective grief and resistance into a cinematic art form. 

Poster of Fozhan’s new film Night of Melancholia

What films, actors/actresses, and stories have inspired your way of directing and filmmaking?

David Lynch has always been my ultimate creative compass; his ability to craft mysterious, poetic, and subconscious cinema is unmatched. Losing him last year felt deeply personal because films like Mulholland Drive, Lost Highway, and The Straight Story completely redefined what cinema could be for me.

Because of my deep roots in acting, performance is everything to me. I look at actresses like Cate Blanchett, Kate Winslet, Olivia Colman, and Frances McDormand as my four artistic goddesses. They possess a fierce, uncompromising dedication to truth on screen that I always aspire to bring out in the actors I direct or even when I’m acting myself.

NYWIFT Member Fazhan on set.

What is the most fulfilling aspect of bringing your stories to life on the big screen?

Since I was a little girl, I’ve been fascinated by One Thousand and One Nights and the archetype of Scheherazade. I truly believe that storytelling is the greatest magic in the world. The most rewarding part of filmmaking is the emotional echo. When I write a scene, I feel a specific warmth, nostalgia, or tension.

When the film plays on a big screen and I ask an audience member how a moment made them feel, getting an answer that mirrors exactly what I felt while typing the script is an indescribable feeling. It’s the ultimate human connection.

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

If you truly love what you do, you have to keep moving forward no matter what the world throws at you. I wanted to be an actress since I was six years old. Against all odds, through shifting borders and completely changing industries, I kept going. I’m not saying I am exactly where my ultimate goals are just yet, but I am incredibly proud of the path I’m on, and I am deeply enjoying the ride.

Fozhan with members of her crew.

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

I am currently in an intense, exciting development phase! I’m working on three major projects: a workplace sitcom pilot, a fantasy short film, and a sci-fi feature. We are currently location scouting, polishing the scripts, and assembling our creative teams, which is one of my favorite parts of the process, as I love bringing talented people together.

Most importantly, due to the incredible reception of Night of Melancholia, I am currently expanding it into a full-length feature film to explore those characters and themes on a much larger canvas

Connect with Fozhan Gharib on Instagram at @foujeanne and on her website www.fougharib.com/film to learn more about her film Night of Melancholia at @nightofmelancholia.

(All images courtesy of Fozhan Gharib)

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Aayushi is an award-winning South Asian screenwriter/filmmaker based in New York. Her screenplays have gained recognition from Oscar-qualifying festivals across the USA, while her filmmaking work (directing/producing/assistant-directing) includes shorts and features that’ve been showcased at festivals around the world or have streamed on Netflix and other platforms. 

Throughout her film career, she has worked for leading organizations like Bloomberg, The Juilliard School, PVH Corp., Industrial Scripts, and the Berlinale. Recently, she served as a juror for the FOLCS International Short Film Competition. 

Her writing has been published online, and her work has been featured in the press.

New NYWIFT Memeber Aayushi Shah

Could you give our readers a brief introduction to yourself?

Hi everyone, my name is Aayushi A. Shah. I grew up in India, but I moved to New York nearly seven years ago to study filmmaking. Today, as an award-winning screenwriter and filmmaker, I am proud to have carved out a place for myself in the U.S. film industry.

What brought you to NYWIFT?

NYWIFT is such a storied organization. What brought me here is the chance to form meaningful connections with more women filmmakers, receive support for my own future film projects, and immerse myself even deeper in the New York film community. I am also eager to contribute and, through NYWIFT, plan to help champion women’s careers in the U.S. film industry.

Aayushi Shah working on-set

How has your South Asian identity inspired your way of storytelling?

My South Asian identity inspired my storytelling especially after I moved from India to New York. In fact, I didn’t realize until my third or fourth screenplay that I was subconsciously drawn to writing female leads who felt like outsiders in one way or another. My heritage has therefore given my voice a specificity and originality. It has also instilled in me a determination to contribute to South Asian representation in the U.S. film industry by writing and directing nuanced stories that feature South Asian women both in front of and behind the camera.

How have your writing and storytelling processes changed throughout the years and experiences? 

My writing and storytelling are—and always have been—inspired by my own life. At the beginning of my career, I would pour my thoughts and feelings onto the page with raw immediacy. Over the years, I’ve become more deliberate, even clinical, in the way I approach adapting my personal experiences into structured, film-worthy screenplays.

Aayushi on set in New York

What is the most fulfilling aspect of having been part of the jury for the 13th FOLCS International Short Film Competition? 

The FOLCS International Short Film Competition deals in Social Justice-themed films, so as a juror, I watched, evaluated, and reviewed films from all over the world that highlighted such subjects as asylum, women’s education, tyrannical oppression, prison reform, and more.

The most fulfilling aspect of serving as a juror was recognizing the work of fellow filmmakers—filmmakers who made deeply affecting films often in crisis-affected parts of the world. By selecting their films for the festival’s official lineup, I helped bring some awareness to the important themes that these filmmakers often took risks to highlight—which was equally rewarding.

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

The biggest lesson I have learned so far in my career is to LISTEN.

New NYWIFT Member Aayushi on set.

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

I am currently in post-production on my short film Strange Things Will Happen, which I’m hoping to enter into the festival circuit before year-end. I wrote and directed it, and it’s my most personal—perhaps even autobiographical—project to date. I am also currently outlining two short films: Some Ghosts are Red (horror) and California Dreaming (drama). I plan to write and direct both projects in the U.S. in the coming years, working alongside my industry peers.

Connect with Aayushi Shah by email at aayushiashah21@gmail.com.

(All images courtesy of Aayushi Shah)

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Welcome to NYWIFT, Kaitlyn Diehl!

Kaitlyn Diehl is an actor, producer, and screenwriter based between Philadelphia and NYC. She has starred in 25+ shorts, features, web series, and commercials in lead and supporting roles.

Her first foray into filmmaking began when she co-wrote, co-produced, and co-starred in a short film with her sister, Jackie Diehl, titled Willow. The short was accepted into 13 festivals up and down the East Coast and won Audience Choice at the Media Film Festival.

Inspired by the positive reception of Willow, Kaitlyn has since produced another short, Stand Up, and her first feature film, TINO. Both began their film festival circuits this spring. Kaitlyn continues to write and is currently in pre-production for a few exciting film projects. Stay tuned!

NYWIFT Member Kaitlyn Diehl

Could you give our readers a brief introduction to yourself?

Hi, I’m Kaitlyn Diehl! I started in this industry with one goal: to become an actress. After earning a minor in Theater Performance from the University of Delaware and completing the three-year Meisner curriculum at Playhouse West in Philadelphia, I realized not only did I want to live in fictional worlds, but I wanted to create them, too.

My goal as both an actor and filmmaker is to tell stories that explore the raw, and sometimes painful, aspects of the human condition. I am a believer, so I also like finding ways to show God’s love for all people – especially in the dark places where He is often not depicted in film and TV.

What brought you to NYWIFT?

As a Next Wave Member and a young filmmaker, I am SO excited to learn from other women who are further along in their careers! This world can be unforgiving of artists, so I also find that building a strong community of fellow dreamers and doers fills my cup back up.

You work across acting, producing, and screenwriting. How do these roles influence one another in your work?

Acting definitely makes me a better producer and screenwriter because it has given me a very unique lens through which to see sets and scripts; I’ve worked on 25+ sets as an actor across a broad range of disciplines: commercial, shorts, features, web series, student films, etc. Each project gave me behind-the-scenes insight into what works and what definitely does not work on a set. By the time I was ready to produce my first film, I felt very comfortable working in that fast-paced environment, and I was already familiar with the crew roles and procedures.

Unexpectedly, producing also helped my acting; I feel less nervous joining a new project as an actor because I now understand that 1) The crew is so busy with their own tasks that they aren’t singularly focused on me and my performance, and 2) I now appreciate the full filmmaking lifecycle, from pre-production all the way through post, and realize that actors are just a small part of the living and breathing organism that is a movie. 

Finally, acting has helped my screenwriting because it has required me to study and break down hundreds, if not thousands of scripts – whether that be through audition sides, plays I’ve read, scenes for class, and more. The bad scripts have taught me just as much as the good scripts. And of course, screenwriting while wearing my producer’s hat has me considering the budget and logistics as I write in new locations or characters.

You recently produced your first feature film. What drew you to that project, and what was the experience of bringing it to life?

Yes! What a journey it has been. I was drawn to the project for a few reasons; first, I was excited to work with Michael James Mina, the film’s director and screenwriter. I’d seen his work before and was impressed by his ability to weave softness and beauty, both visually and emotionally, into very heavy subjects.

Second, I connect with the story on a personal level. TINO follows a young man struggling with addiction and homelessness as he tries to reconnect with his estranged father. Both the director and I have loved and lost addicts in our own lives. Living in Philadelphia, we also see these folks on a regular basis and witness firsthand the lack of support they receive. 

Bringing this film to life was a crash course on producing. It was incredibly difficult yet insanely rewarding, and I wouldn’t change a thing. As a co-producer alongside my sister Jackie Diehl and Michael James Mina, I had my hands in every department: finding locations, fundraising, casting, hiring crew, marketing, accounting, scheduling- the list goes on. We started the project at the end of 2023, shot it across 14 days in September 2024, and started submitting it to film festivals this spring!

It’s been a long journey, but I can’t wait to see where it goes.

What did producing your first feature teach you about yourself as a filmmaker?

Coming out on the other side of this project, I know that I am 10 times stronger as a filmmaker. One of my biggest takeaways was the following: Do not put a “no” in someone’s mouth before they’ve had a chance to give it to you. Just ask. I was astounded by how many people and companies were happy to do us favors; free locations, free crafty, generous financial donations, and more, all because we were willing to set our pride aside and reach out.

I also learned that I am resilient. Filmmaking is HARD, and producing can be thankless. Organization is a strength of mine, and when paired with perseverance, you’ve got a recipe for success!

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

I wish I had let go of perfectionism sooner. I spent a lot of my life “waiting to be ready” before I would allow myself to participate in the arts. At its core, this was rooted in a fear of judgement and vulnerability. Now, I believe that the risk of falling flat on my face is worth the joy of learning alongside other flawed, creative humans. After all, if I had waited to be the “perfect” producer, I never would have made TINO.

As your film begins its festival run, what are you most excited to experience or learn from this next stage?

I am SO excited to see how the film lands with audiences. I love watching my films take on a new life through others’ eyes, and I’m also looking forward to the types of conversations it will generate. Finally, I am excited to learn more about tackling the festival circuit. We put our all into this film, so we aren’t going to pull back now!

Connect with Kaitlyn on Instagram @its_a_diehl, on her website www.kaitlyndiehl.com, and learn more about her film TINO.

(All photos courtesy of Kaitlyn Diehl)

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Welcome to NYWIFT, Persia White!

Persia White is an actor, director, writer, visual artist, musician, and activist best known for her lead roles on Girlfriends and The Vampire Diaries.

A passionate filmmaker, she co-produced the award-winning documentary Earthlings, narrated by Joaquin Phoenix. Her directing work includes acclaimed music videos such as Vampire, NOLA, and Robot Love, earning international festival recognition. She has also produced and co-written award-winning short films for Russell Simmons and Ovation.

Persia co-founded Morgan White Productions with Joseph Morgan, and in 2026, Persia is launching Always and Forever, a nonprofit dedicated to supporting diversity and amplifying female voices in film, TV, and the visual arts.

NYWIFT Member Persia White

Could you give our readers a brief introduction to yourself?

I’m a filmmaker, actor, writer, visual artist, musician, director, and activist. Beyond that, I’m a mother, a wife, an animal lover, and a passionate vegan on this wild journey called life. I’m currently transitioning into a new chapter in my life. 

What brought you to NYWIFT?

Last year, I moved to New York City because I am in love with this city and its undeniable creative heartbeat. I was born in Philadelphia and always wanted to come back to the East Coast and live in New York. As soon as I was able to, I made the leap.

I was thrilled to join NYWIFT because of the fantastic work they do for women and the opportunity it gives us to connect and support one another.

NYWIFT Member Persia White on GIRLFRIENDS

You work across acting, writing, directing, and music. How do these different forms influence one another? 

I thrive on exploring the complexities of the human experience. All of my crafts, from acting to music, visual arts, and writing share the same mission: to connect the audience with an emotion. All my work collides beautifully when I allow them to softly play together.

Your work often focuses on socially relevant and inclusive storytelling. What draws you to these kinds of narratives?

Cinema and television are mirrors of society, they can also be catalysts for awareness, empathy, and change. I am driven by and inspired by stories that give us a chance to confront the things we find hard to talk about in our day-to-day lives.

I grew up feeling very alone. I didn’t see myself or hear my voice in mainstream media. I had to push hard to create a space to exist. I want to help do that for others.

How do you approach balancing visual style with emotional depth in your projects?

My visual style is always born from emotion. What fear or love looks like can differ drastically depending on the perspective of the character feeling it. Emotions come first, and I let them guide the visuals. Colors, lens, movement, and sound are built around the story and the emotions inside of it.

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

I wish I had thicker skin when I was young and knew not to take everything so personally. I shed so many tears over things I had no control over. It’s so important to brush negative energy off and to protect your heart. Fill your space with those who make you feel love.

Looking ahead, what kinds of stories or impact are you most excited to continue exploring?

I am on a mission to create films and art that inspires people. I am an activist at my core, and I align my energy with purpose. I have stories that only I can tell, and I can’t wait to share them with the world.

Currently, I have written three feature film scripts, a TV pilot, and two mixed-media art projects that I’m just starting to take to market. I can’t wait to fill them with talented creatives from around the world, and of course, I am so excited to work with fellow members of the incredible NYWIFT!

Connect with Persia on Instagram at @misspersiawhite, through her website morganwhiteproductions.com,  and listen to her music at persiawhitemusic.com. Persia White is represented by Untitled Management. 

(All photos courtesy of Persia White)

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Welcome to NYWIFT, Rosa Arredondo!

Rosa Arredondo is a multi-hyphenate native New Yorker. 

Most recently, she originated the role of John Leguizamo’s sister in The Public Theater’s premiere of his original play The Other Americans. 

Other credits include: two seasons as Francey Jones, on CBS’s So Help Me Todd, opposite Marcia Gay Harden, as well as four seasons as Sheriff Valenti, on The WB’s Roswell New Mexico. Other television credits include Mare of Easttown, opposite Kate Winslet; Ava DuVernay’s When They See Us; Blue Bloods; The Equalizer; Blindspot; The Blacklist; and The Good Wife, to name a few. She has also enjoyed recurring roles on Ordinary Joe, Gone, opposite Chris Noth; and Quantico, opposite Blair Underwood.  

Her film credits include Academy Award Winner Still Alice, opposite Julianne Moore; The Secret Art of Human Flight, which received a Best Feature nomination at The Tribeca Festival; and Tribeca Festival pick Baby Girl by award-winning director Macdara Vallely.

Rosa Arredondo founded Seven Sister Productions to provide a platform for stories from the female perspective. She wrote, produced, and starred in her solo show I Walked Across the Ocean Floor, which premiered Off-Broadway with Royal Family Productions, and, which received a Best Short nomination at the Female Eye Film Festival in Toronto.   

Could you give our readers a brief introduction to yourself?

Hello friends! My name is Rosa Arredondo, a multi-hyphenate, native New Yorker, who started her career as a dancer. After being awarded the Alvin Ailey Scholarship, I went on to dance with affiliated companies in the U.S. and throughout Europe. Soon, I transitioned into the acting world and continue to enjoy a career as an actor.  

What brought you to NYWIFT?

I had many filmmaker friends who were members and always wanted to become one myself, but procrastination is one of my special skills. Until I attended one of the Latinas Acting Up cafécitos, where I met NYWIFT CEO, Cynthia Lopez, who invited me to an event. I was so moved and impressed with the collaborative spirit that I thought, ‘Jump in!’ 

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

Wow… I would have to say never forget it is a business. Just showing up and doing a great job, unfortunately, is not enough. You must advocate for yourself. You have to know your worth and you have to nurture relationships. I hate that part. I wish we could just focus on our craft and creativity, but it’s called show business for a reason. 

As someone working across acting, writing, and producing, how do these roles influence one another? 

I feel that one role definitely influences the other. As an actor, when reading a script, I respect what is on the page. I try not to be one of those actors who always want the writer to change things. I believe that part of my job as an actor is to make what is on the page work. That, I guess, is because as a writer I know I choose my words for very specific reasons. The way something may be phrased, or italicized is intentional.

However, being an actor influences how I approach writing dialogue. I ask myself, ‘Would anyone actually speak this way?’ I hear my character’s voice, see how they walk, and carry themselves as I am creating them. I strongly believe that my acting influences my writing and vice versa.

However, as a Producer, I learned you have to be willing to let things go. Your precious words, your character choices. You must be willing to collaborate and think of the good of the project.  

You’ve written and produced a solo show and recently completed your first television pilot. What inspired you to start creating your own work? 

I think most of us actors-turned-writers have the same answer: lack of representation and work for us. I wasn’t thrilled with what I, as a woman, as a woman of color, was getting a chance to audition for and play. I knew I had more to offer.

But honestly, I had always written, even as a teen. I was always told that I was a great storyteller by my friends. I would recount an event with such detail and visuals. I had so many stories I wanted to tell throughout my life. Stories about people I knew, about our communities, about humanity, that I figured why not start writing them? 

What did developing your first pilot teach you about your voice as a storyteller?  

I realized that I am really drawn to dark characters! No, seriously, I realized that I was good at digging deep into the psyche of a character, to find their inner thoughts, fears, faults. I enjoyed playing the role in my living room to figure out the character better and dive deeper. I realized what I loved most about storytelling is showing each character’s humanity. 

Looking ahead, what kinds of stories are you most excited to tell?  

Oh! I want to continue writing stories about those we seldom hear about. I want to give a voice to those never heard. Obviously, as a woman, it will always be from a female perspective. Most importantly, I want to create universal stories that represent people of color as whole, three-dimensional characters, stories that open our eyes and minds, stories that stay with us. 

Connect with Rosa on Instagram at @rosaevangyarredondo!

(All photos courtesy of Rosa Arredondo)

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Welcome to NYWIFT, Dominique Debroux!

Dominique Debroux is a producer, entrepreneur, and nutritional chef whose work bridges storytelling, science, and women’s empowerment.

A former fashion executive turned filmmaker, she produced the documentaries 40 Weeks and recently Wise Women – Humanity’s Untold Origins, which reframes menopause as the evolutionary foundation of women’s leadership.

Partnering with Oscar-winner Jonathan Sanger and Madeline Di Nonno of the Geena Davis Institute, she advocates for rewriting women’s midlife narratives—on screen, in culture, and in how we nourish ourselves to thrive.

Could you give our readers a brief introduction to yourself?

I’ve had a winding path. For over 25 years I worked in the global fashion industry, directing U.S. divisions for European brands. It was meaningful work, but my real passion was always healing, wellness, and social change. At 50, I finally made the leap.

Since then I’ve been pouring my energy into the things that matter most to me. My latest documentary, Wise Women: Humanity’s Untold Origins, came out of my own menopause journey and a burning question: why do human females go through menopause and then live so long afterward? The science we uncovered completely reframes midlife for women. Alongside the film, I work directly with people on their health through food, through my brands and my YouTube platform Food Lady.

The throughline in everything I do now: how do we help women see this phase of life as the beginning of something, not the end?

What brought you to NYWIFT?

I had seen the great work NYWIFT did for years, but honestly didn’t think I qualified. I saw myself as someone who worked well alongside my filmmaker husband Christopher Henze and had a good head for funding.

What changed it was a moment in Jonathan and Carla Sanger’s kitchen (Jonathan is an Oscar-winning producer and Carla is a powerhouse in education). We were going step-by-step through Wise Women, pulling in other stories and projects to pressure-test our own, and at the end of it Carla looked at me and said, “You’re quite a producer.” Jonathan agreed. It took a woman with that kind of wisdom and standing to make me see myself with fresh eyes. This year I was connected to two wonderful NYWFT members, and I applied.

You are a producer, entrepreneur, and nutritional chef. How do these different areas influence one another in your work?

At the core, it’s all storytelling.

When someone’s health isn’t working, I ask them to look at their lifestyle like a story: where does the narrative break down, what doesn’t make work, what needs to shift? Building and running a company is the same thing. You’re constructing a story that connects and moves people toward something. And film is one of the purest forms of that exact same impulse.

The tools change but the question is always the same: what is the story, does it make sense, and is it moving people in a direction of growth?

Your projects 40 Weeks and Wise Women – Humanity’s Untold Origins center on women’s experiences and empowerment. What draws you to these stories?

Women are half of the world’s population, yet we are underappreciated for our labor, our capabilities, and our discoveries, while being held back from leadership positions. Women’s core journeys and capabilities need to be celebrated and seen as the extraordinary stories they are.

How do you approach blending storytelling with science?

Science’s methodology is storytelling. Much like a story, it starts with an idea, or hypothesis, and then the process is to see if all the steps make sense and fit together to prove that hypothesis true. If one of the steps doesn’t fit, you move back a few, or maybe all the way to the beginning, and start again.

When we started Wise Women, we wanted to know why an OB-GYN’s definition of menopause as “nature’s mistake” sounded so wrong to us. We followed the story and found new science.

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

Just go for it. Start filming, start writing, start telling your story. Especially now that the digital world makes it so easy to do. Momentum draws partners in, so we had faith in ourselves and created our own momentum.

Looking ahead, what kinds of stories are you most excited to continue exploring?

I will continue to move the human experience toward a better place, and for now that means empowering women. Imagine if a body were suffering the same kind of imbalance that humanity is: where half of its organs were being abused, suppressed, or undernourished. Imagine the level of disease that body would be dealing with. That is our world right now. We need all women to find their voice and be supported in using it, in order to get out of this crisis.

Connect with Dominique on Instagram at @debrouxdominique, YouTube at @foodlady-dominiquedebroux4426, and Substack @Wise Women… Forward. Watch her latest film Wise Women.

(All photos courtesy of Dominique Debroux)

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Welcome to NYWIFT, Ariana Marie Luque! 

Ariana is an award-winning director/cinematographer from The Bronx, NY. She is a NYU Tisch alum, having graduated with a Bachelor’s in Film/TV production. 

Her work is often rooted from her Latin background, prioritizing culture and interpersonal relationships in her work. Her goal is to amplify stories from underrepresented communities and diversify the entertainment industry in front and behind the camera. 

She has gained international experience working in Iceland, Italy, and Puerto Rico, and has collaborated with major studios including Amazon Prime, Walt Disney, and Paramount under production roles. 

Most recently, she completed a film fellowship at the Bronx Documentary Center and is currently developing a short narrative film and is in production on two short documentaries.

In our interview, Ariana discusses her background, what she’s learned from working in the industry, and the importance of film. 

NYWIFT Member Ariana Marie Luque

Could you give our readers a brief introduction to yourself?

Hello! My name is Ariana and I am a director/cinematographer based in New York City and recently started my own production company, Capicú Productions! With this company, I aim to continue highlighting underrepresented stories and focusing on projects that dispel negative connotations and stereotypes on BIPOC and queer communities.

The films I am most attracted to working on are cinema vérité documentaries and auteur narratives that spotlight raw stories with clear creative direction. I am always enthusiastic [about] making new connections and working with people who can challenge me and grow together creatively.

Ariana Marie Luque as the cinematographer on the set of El Talisman

What brought you to NYWIFT?

I found out about NYWIFT through a cohort of mentors who recommended joining as a valuable next step in my career. And as a result of winning the Best Short Documentary award at this year’s NYU Fusion Film Festival, which is dedicated to uplifting work by women and non-binary filmmakers, I had the pleasure of receiving sponsorship as a NextWave member!

It is an honor to join an incredible network of talented women in the industry, where we can collaborate, support one another, and create new opportunities together.

Ariana on set in Iceland

How has your background influenced your creative work?

My family and cultural background have deeply influenced my calling to film. I come from a family of artists of different mediums which allowed me to express myself in a creative space freely, without judgement. Though, due to financial and external circumstances, many of the members in my community had to leave their creative endeavors behind them.

I am grateful to be part of a generation where organizations like NYWIFT exist and opportunities to climb the industry ladder (or reinvent it) are more accessible than ever. I’ve been working in the film industry since I was sixteen thanks to public schools that’ve offered film classes and opportunities, as well as non-profits like Ghetto Film School, which introduced me to an entirely new world and continues to support my journey.

My community constantly motivates me to push beyond my comfort zone, choosing projects that I believe would give back to the people, places, and culture that shaped me.

What kind of creative projects are you most drawn to?

As an emerging filmmaker, I’ve been exploring all mediums from commercials, shorts, music videos, documentaries, and more! Though, the projects that I call “soul-fulfilling” are those that teach me something about myself while also deepening my understanding of the world throughout the creative process.

I’m attracted to projects that highlight overlooked narratives and create space for crews who can meaningfully relate to or understand the subject matter. My goal is to leave audiences having learned something and/or questioning what they’ve seen, hopefully sparking a deeper curiosity about the topic and themes long after the film ends.

Ariana on set in Puerto Rico

From working in the production department of many successful films and TV to creating your own films, what are some lessons you’ve learned along the way? 

It truly takes an army! Choosing the right crew for every project can look a little different, but building a network that is stable, reliable, and aligned with your creative goals is essential. Sometimes you’re on set for more than twelve hours a day, so it’s important to work with people who are not only excellent at their craft but can also contribute to the good chemistry of a production.

Another lesson I find myself relearning with every project is patience. Unexpected challenges are inevitable, and can easily throw things off course. I’ve learned that staying focused on the bigger picture helps ease the stress in those moments. I aim to approach each obstacle with a sense of gratitude, recognizing the value in every lesson along the way. Often, what feels like a setback can actually be a shortcut to your original goal.

Ariana on set in Italy

Why do you think film is an important medium, especially in regards to the kind of work that you create?

Films influence our lives more than we realize, especially in today’s digital landscape, it’s a powerful tool for education and raising awareness. Given that our society is rapidly evolving its technology, I’ve found that the preservation and digitization of archives is more important than ever.

With my recent documentary, Casa Amadeo, I found it incredibly difficult to source free archival footage of the South Bronx in the 60s/70s. I imagine this was due to cameras being a luxury at the time, with limited access to the resources needed for preservation. With today’s technology, I’m committed to capturing the world through my lens and ensuring future generations can access these stories without barriers or paywalls.

Films are one of the rare mediums that combines visual and audio storytelling to impact an audience’s thinking and behaviors. They have the unique ability to connect individuals and create conversations around topics that we may not be able to discuss in our daily lives. It can be a form of escapism, while also immersing audiences in perspectives they may have never encountered before or know all too well.

Connect with Ariana on her website www.arianamarieluque.com, on Instagram at @beingarianamarie, or on LinkedIn. 

(All images courtesy of Ariana Marie Luque)

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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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