At the 2026 Tribeca Festival, audiences were introduced to an inspiring story of resilience, determination, and hope through The Gymnasts of Fisherman Colony, a powerful documentary that follows a group of young girls in Pakistan who dare to dream beyond the limitations placed upon them.

Directed and written by Habiba Nosheen with past NYWIFT Muse Honoree Mariska Hargitay as an executive producer, the film takes viewers into Machar Colony, a marginalized fishing community in Karachi where many residents live without official documentation, limiting access to education, healthcare, and economic opportunities. Against these challenges, a gymnastics team emerges as a beacon of possibility for a group of girls determined to create a different future for themselves.

Still from The Gymnasts Of Fisherman Colony (courtesy of Tribeca Festival)

The documentary beautifully captures the girls’ journey as they train under the guidance of coach Furqan Raja while receiving support from renowned human rights lawyer Tahera Hasan. As they prepare to compete in Pakistan’s National Women’s Gymnastics Competition, viewers witness more than athletic training — they witness growing confidence, friendship, self-discovery, and the courage to challenge societal expectations.

What makes The Gymnasts of Fisherman Colony particularly compelling is its balance of joy and reality. The girls’ playful personalities, humor, and unwavering determination shine throughout the film, creating a deeply moving coming-of-age story. Their pursuit of gymnastics becomes more than a sport; it becomes an act of empowerment and a pathway toward visibility in a community often overlooked.

NYWIFT Members Lakisa Renee (left) and Tammy Reese (right) with Mariska Hargitay

The documentary serves as a powerful reminder of how access and opportunity can transform lives. Through intimate storytelling and stunning cinematography, Nosheen invites audiences to witness the strength of young women who refuse to let circumstances define their futures.

NYWIFT’s Tammy Reese and LaKisa Renee had the opportunity to attend the film’s world premiere during the Tribeca Festival and speak with director Habiba Nosheen and executive producer Mariska Hargitay on the red carpet. During the conversations, both women shared insights into the importance of amplifying stories that center resilience, equity, and the transformative power of community support.

Mariska Hargitay on the red carpet

As The Gymnasts of Fisherman Colony demonstrates, meaningful change often begins with a single opportunity. For these young athletes, gymnastics became much more than a competition — it became a platform for self-expression, confidence, and hope.

Watch NYWIFT’s exclusive red carpet coverage and interviews with Habiba Nosheen and Mariska Hargitay below.

Mariska Hargitay Interview — The Gymnasts Of Fisherman Colony Tribeca Festival 2026 Red Carpet

Habiba Nosheen Interview — The Gymnasts Of Fisherman Colony Tribeca Festival 2026 Red Carpet

On The Carpet

(All images courtesy of Tammy Reese except where otherwise noted)

The post Tribeca Festival 2026: “The Gymnasts of Fisherman Colony” Shines a Light on Courage, Community, and Opportunity appeared first on New York Women in Film & Television.

Welcome to NYWIFT, Jaime Schwarz!

Jaime Schwarz grew up in NJ, the daughter of a Korean immigrant mother and son of Holocaust- survivors, father. 

Jaime earned her BFA in Acting from Pace University in NYC, appearing Off- Broadway in The Doctor at the Park Avenue Armory and on TV in Difficult People (Hulu), Younger (Paramount+), Jane the Virgin (The CW), Sorry for Your Loss, and Elsbeth (CBS). 

She is the director, writer, and star of the short film The Sandwich Line, which premiered at the Oscar-qualifying Indy Shorts International Film Festival, and her other writing work has been published in Mixed Asian Media and JoySauce.

She’s currently developing several projects and is repped by Gersh + MJ Management.

In our interview, Jaime discussed her journey from acting to directing and shared her experience of working in TV. 

Welcome to NYWIFT! How did you hear about us?

[Through] Lindsay Grossman. She made The Love List, which is a screenplay “best of” list that I was featured on! 

You’re an actor, singer, and writer. What came first for you creatively, and how did the others follow? 

I grew up doing musical theatre – the first films I ever saw were Mary Poppins, The Wizard of Oz, and The Little Mermaid, so acting and singing started at the same time. I could never figure out how to dance [laughs]). I caught the performing bug and ever since I was six years old, I dreamed of being on Broadway in a musical, being a popstar, or acting in movies and tv shows. Then around 12 I was introduced to some films that just blew my mind! 

I became obsessed with film. I started watching everything that has ever won an Oscar, the films on AFI top 100, etc. I couldn’t get enough and I saw these actors doing things that I didn’t even know actors could do and making me feel things I didn’t even know I could feel. I decided I wanted to do that and I focused on acting. 

Sometime during high school I realized I could write, and thought one day I’ll act, write, direct, and produce my own work, but I spent the majority of my twenties strictly acting and just writing down ideas to write in the notes section of my phone anytime I had inspiration.

Then, during the pandemic, I thought “I hate everything I’m auditioning for, I’ve always said I was going to write and direct… I guess now’s the time to actually start since I have the time” – I’m not good with idle time [laughs].

I started writing, then I directed my first short film, and now I have caught those bugs too! I plan to make my first feature next year! 

Is there a role so far that surprised you, either in how challenging it was or how audiences responded? 

I was in a play called The Doctor at the Park Avenue Armory directed by Rob Icke. In the second act of the play there is a big debate scene and my character was the “woke perspective.”If you read the play, everything I’m saying is valid and correct, however in the context of the play and how it’s laid up, it feels ridiculous in the moment and then later makes you think (the genius of Rob Icke). So I was very shocked when everyone in the audience would laugh at the things I was saying. 

What was even more interesting was that the one time no one laughed and only rooted for me, was when we had a high school performance where schools from the area came in. Kids got what I was saying; it was the older audience members who scoffed. It was very challenging night after night trying to get my point across, but helpful because that’s the point of the debate anyway.  It was also very eye-opening.  

What have you learned from working on long-running TV sets versus shorter, more contained projects?

Long-running TV sets are a well oiled machine. Also, there are so many more cooks in the kitchen, more voices, opinions, people to answer to. Everyone has to be happy with their choices and that’s hard to do. I think what ends up happening is catering to the lowest common denominator option, which isn’t always the best choice creatively. 

What I like about independent work is the opposite. You get to make what you want to make and artistic vision and voice gets to shine through a lot more. I don’t think I understood that until I started making my own work.

Did being an actor first influence how you approached directing? 

Oh my gosh, IMMENSELY! I did not realize directors who don’t come from acting get scared talking to actors or feel like they have to study how to. I just talk to actors like I do when doing a scene study class. I understand the vocabulary, what we’re trying to get at. I feel much more comfortable talking to actors than to any other people in the crew, but that’s because I am one. Also, I care about the acting first and foremost when watching things, so my directing is all about the acting. 

I’m trying to find that magic that I have to find for myself when doing self-tapes. I think self-tapes have really helped actors become their own directors because we’re doing it for ourselves.

How do you choose projects at this stage in your career? 

I’m an auditioning actor, so I only say “no” to certain things for very specific reasons, but I generally say “yes” to most things. I like challenging myself. Choosing projects for writing and directing? Well, I’m constantly writing seven things at once. 

Usually a few more commercially-type things that I just have a great hook for that my reps can sell and then a few indies that are a lot more personal for me to make or give to smaller production companies. All of these are ideas that I can’t stop thinking about. 

For directing,I like to work on a bunch of things at once and directing takes up so much of your life. Also, I know how to be in control and lead a ship, but it’s not my first pick of the jobs.

So if I’m going to direct, it’s because I NEED to, because no one else can for this project. I have a few scripts that I will not let someone else touch and I have a lot of other scripts that I’m happy to give to someone else to direct and make.

What are you working on next? 

I’m working on a few scripts. I have some shorts I’ve written for friends to direct and make which has been super fun! And I have an indie feature that’s a Before Sunrise-esque love letter to NYC. It’s one I NEED to direct because it’s personal. I’m scared about it and that’s very exciting. 

You can find Jaime Schwarz at @jaime.jpeg_ on Instagram and @jaime.mov_ on Tiktok.

(All images courtesy of Jaime Schwarz)

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

Tiána Lynn is the Founder and CEO of Wholistic Vibes Wellness (WVW), a neuroinclusive consulting and training firm focused on Black mental health, workplace culture, and systems-level change.

With a background in case management, HR, and operations, she specializes in psychological safety frameworks, burnout prevention infrastructure, and trauma-aware leadership development.

Through WVW Academy she is advancing accredited workforce training—particularly for Community Health Workers. Tiána is also the host of the Wholistic Vibes Podcast, where she explores Black mental health, identity, and healing through storytelling.

Her work centers on building sustainable environments where people are supported, valued, and able to thrive.

We spoke to her about her fascinating work at the intersection of media and wellness.

Could you give our readers a brief introduction to yourself?

My name is Tiána Lynn, and I’m the Founder and CEO of Wholistic Vibes Wellness (WVW). My work sits at the intersection of Black mental health, workplace culture, and systems-level change. I focus on helping organizations build burnout-resistant, neuroinclusive environments where people are supported, valued, and able to thrive sustainably without burning out.

With a background in case management, HR, and operations—particularly supporting high-need populations—I bring a systems perspective to mental health and workplace culture. My consulting, training, and podcast work all center on making mental health, especially for Black communities, structurally supported rather than an afterthought.

What brought you to NYWIFT?

I’ve always been drawn to storytelling. As my work in Black mental health and workplace culture has evolved, I’ve become more intentional about how these stories are told—especially stories involving trauma, healing, and systemic change.

Joining New York Women in Film & Television felt like a natural evolution. I wanted to expand my voice from podcasting into visual storytelling, production, and broader media influence to impact culture at scale.

When did Black mental health advocacy become the central purpose of your life’s work?

It was a series of experiences rather than a single moment. Through direct client work, I witnessed how individuals carry not only personal burdens but the weight of unsupportive systems—overwork, lack of voice, and expectation to push through burnout. Simultaneously navigating my own mental health journey made it clear: I couldn’t ignore the structural gaps.

Black mental health advocacy shifted from something I cared about to a responsibility I felt called to address through policy, systems redesign, and real accountability.

Tell us about Wholistic Vibes Wellness. What is the origin story, and what are your goals with it?

Wholistic Vibes Wellness was born from seeing the persistent gap between what people need and what workplaces and systems actually deliver. In previous roles, I saw talented people expected to give everything while receiving minimal structural support, leading to exhaustion and disengagement.

Today, WVW is a wellness and culture-focused organization grounded in care, clarity, and sustainability. We partner with organizations to build people-centered systems, including psychological safety frameworks, burnout prevention infrastructure, neuroinclusive and trauma-aware practices, leadership development, and intentional culture design.

We are advancing WVW Academy to provide accredited training for workforces—particularly Community Health Workers—who are often on the frontlines but lack adequate structural support. Our goal is clear: move from performative wellness to real, accountable systems that support long-term thriving, retention, and impact.

Is there one moment or experience from your career that stands out as most meaningful?

One of the most meaningful experiences has been building WVW after leaving environments where I didn’t feel valued. Turning personal and observed challenges into a platform that creates space for others has been powerful. Advancing WVW Academy—developing accredited training programs—stands out as validation that this work is both needed and making a difference.

What drew you to podcasting? What do you think makes it an impactful medium?

Podcasting felt natural because it allows for deep, honest conversation in a way many other mediums don’t. It provides space to unpack complex topics like Black mental health, identity, and healing without rushing to highlights. For me, it’s about creating connection and helping listeners feel seen. That ability to sit with the full story is what makes it so impactful.

What advice would you give to Black creatives and entrepreneurs who are early in their careers?

Don’t rush to perform success—focus on building something substantive. Longevity comes from depth, not just visibility. Give yourself permission to evolve; your vision will clarify over time. Most importantly, protect your vision. Not everyone will understand it in the early stages, and that’s okay. Keep building.

Connect with on LinkedIn follow her on Instagram at @tianalynnxo. The

Wholistic Vibes Podcast is available on Apple, Spotify, and Buzzsprout. Learn more about the WVW Academy at wvwacademy.com.

(All images courtesy of Tiána Lynn)

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Welcome to NYWIFT, Esther Casas Roura!

Esther is an award-winning filmmaker known for blending metaphorical storytelling with animation. Originally from Barcelona, Spain, she began her career as a molecular biologist before moving to New York and transitioning into filmmaking, focusing on animation while working across both commercial and narrative projects.

She later founded Claymaniak Studios (now ECR Films) to create emotionally resonant films across stop-motion, traditional animation, and motion graphics.

Her animated shorts—Check Date: An Underdog Love Story, Creamen, and FLOCKY—have screened internationally at over 150 film festivals. FLOCKY was recently shortlisted for the Goya Awards in Spain, has received 18 international awards, and has gained international recognition for its social impact. 

Esther is currently developing her fourth short, The Melody Within, and her first animated feature, TAO.

In our interview, Esther spoke about her creation of her studio and the making of her films. 

NYWIFT Member Esther Casas Roura

Welcome to NYWIFT! How did you hear about us?

I first learned about NYWIFT while attending industry panels and animation events in New York. Over the years, I saw how the organization champions women filmmakers and fosters meaningful community support, and every time I encountered members or alumni of NYWIFT, their achievements and collaborative energy made me want to be part of this vibrant network.

NYWIFT Member Esther Casas Roura

Your work is known for blending metaphorical storytelling with animation. When did you first realize metaphor was central to how you tell stories?

Metaphor became central to my storytelling early in my animation journey, when I realized that animation allows ideas to be felt as much as seen. It offers a natural way to explore complex emotions and themes that are difficult to express literally.

What drew me in was the tension between the beauty of the medium and the emotional and conceptual depth it can carry. Animation lives between the real and the imagined, and metaphor becomes the bridge between those two worlds. It invites audiences to engage with a story through its visual pleasure and emotional layers—sometimes at the same time, sometimes gradually—allowing meaning to surface in ways that stay with them long after the film ends.

Animation is simply how my mind works: when I think of stories, I see them as animated worlds. It’s the most powerful language I’ve found for telling the stories I want to tell.

NYWIFT Member Esther Casas Roura

What early influences shaped your visual language?

My visual language was shaped early on by a mix of observation, animation, and science. As a child, I watched a great deal of animation—from Disney films and Heidi to Japanese cartoons—but it was stop-motion that truly stayed with me. Series like Pingu and Wallace & Gromit left a deep impression, long before I understood technique.

I was drawn to how animation could communicate emotion, humor, and even loneliness purely through movement and timing. That early exposure helped me understand animation as a language, not just a medium.

My attraction to animation began with stop-motion, obsessing with Laika’s films, and later expanded in adulthood to a deeper appreciation of 2D animation, from large studios like Walt Disney to more contemporary approaches across the medium. Filmmakers like Hayao Miyazaki resonate with me for the sense of wonder in the worlds they create, though my own work is shaped more broadly by animation that makes emotion tangible through image, rhythm, and gesture.

My scientific background further trained me to notice systems, patterns, and hidden structures—an influence that continues to inform how I build worlds and tell stories through animation.

NYWIFT Member Esther Casas Roura

Was animation always your chosen medium, or did it emerge as the best way to express your ideas?

Animation wasn’t always my chosen medium; I arrived at it after exploring many forms of art. As a child, I drew constantly, experimenting with charcoal, oil paint, pastels, and acrylics, while also sculpting figures in clay. At one point, I was even selling my clay figures and built a small website to showcase them.

One day, I began moving one of those figures and felt the excitement of giving it life. That moment led me to write a story, buy a camera, build a set for my characters, and eventually make my first film—all while still working in a cancer research lab.

I realized that animation gave me the freedom to construct worlds where internal experiences and emotional journeys could be externalized visually. It became the most powerful way for me to express ideas that live beyond the literal, where tone, rhythm, color, and movement carry meaning as strongly as words. Working in the lab, I was missing that form of expression—I wanted to feel more alive. Animation gave me that feeling.

What inspired you to found Claymaniak Studios?

I founded Claymaniak Studios as a space to tell meaningful stories and collaborate closely with passionate creatives on projects that sit at the intersection of craft and emotion. I wanted an environment where ideas could grow organically—from early concept to finished film—guided by curiosity, experimentation, and precision.

As my work evolved, Claymaniak grew into ECR Films, reflecting a broader vision and an international focus. ECR Films embodies my belief in the transformative power of animation to engage audiences both intellectually and emotionally, and my commitment to creating stories that resonate across cultures and borders.

NYWIFT Member Esther Casas Roura

What excites you most about where animation is headed right now?

What excites me most is the way animation continues to expand beyond genre and age boundaries — embracing immersive formats, narrative hybridity, and intersections with technology and performance.

There’s more space than ever for diverse voices, new structures of storytelling, and emotionally rich work that resonates worldwide. The animation community is becoming more inclusive and adventurous, and that creative momentum is energizing.

In particular, the integration of AI into animation opens unprecedented creative possibilities. It’s not a distant future—it’s the present—and adapting to it allows artists to push their work further, not replace it. I believe that story, intent, and emotional truth matter more than ever. AI doesn’t carry lived experience; we do.

As a director, I bring my own history, emotions, and perspective into the work, and I see AI as a tool to elevate those qualities—enhancing both the emotional depth and visual expression of the stories I want to tell. That balance between technology and human experience is what truly excites me now.

What are you working on next?

The Melody Within, a short animated film that explores emotional resilience through music using immersive 3D spaces and expressive characters, and TAO, my first animated feature, which blends science and mythology within richly constructed 3D worlds.

While visually ambitious, both projects are driven by emotional truth—designed not just to be seen but deeply felt—inviting audiences into stories that can move them, resonate long after viewing, and reveal the human side of both inner life and science.

NYWIFT Member Esther Casas Roura

Connect with  Esther Casas Roura on Instagram at @claymaniak.

(All photos courtesy of Esther Casas Roura)

The post Meet the New NYWIFT Member: Esther Casas Roura appeared first on New York Women in Film & Television.

At the 25th Anniversary of the Tribeca Festival, the Shorts Program curated by Whoopi Goldberg delivered a powerful lineup of animated storytelling that continues to expand the boundaries of the medium. One of the standout selections, APART, made its world premiere at Spring Studios, offering audiences a deeply emotional lens into apartheid-era South Africa through the eyes of two young boys whose friendship is tested by a divided world.

Still from Apart (courtesy of Tribeca Festival)

The screening was followed by an in-person conversation featuring writer Spike Lee and director Pola Maneli, offering audiences rare insight into the film’s creative and historical foundation.

APART tells the story of two young boys growing up in apartheid South Africa. Their bond begins as an innocent friendship, but quickly becomes entangled in the brutal social systems designed to keep them divided.

As the story unfolds, a life-saving act forces both boys to confront the harsh realities of the world around them — where fear, hate, and enforced separation challenge the innocence of childhood connection. Through their journey, the film captures a fragile but persistent thread of hope: that empathy can exist even in systems built to suppress it.

Written by Spike Lee, Tim Jones, Jeff Leisawitz, and Lubabalo Mtati, and directed by Pola Maneli, the film blends historical truth with emotional storytelling to create a layered and visually striking experience.

Still from Apart (courtesy of Tribeca Festival)

The film is brought to life by a deeply collaborative international team with strong cultural ties to South Africa.

• Music Supervision: Grammy-winning South African artist Black Coffee shapes the sonic landscape of the film
• Fashion Design: Laduma Ngxokolo crafts isiXhosa-inspired wardrobe designs rooted in cultural identity
• Visual Direction: Pola Maneli brings a signature artistic style centered on Black lived experience

Together, the creative team builds a world that feels both historically grounded and visually poetic — where every detail reinforces the emotional stakes of the narrative.

One of the most remarkable aspects of APART is its ambitious approach to animation.

The film combines four distinct techniques:

• Traditional 2D frame-by-frame animation
• Cut-out animation
• 3D animation
• 2.5D compositing

In total:

• 18,000 total frames
• 600 days of production
• 266 professionals involved
• 14 software tools used

This included 157 animation artists and 50 art department professionals spanning production design, storyboarding, concept art, and motion design.

The result is a layered visual language that reflects both technical precision and emotional storytelling.

NYWIFT Members LaKisa Renee (left) and Tammy Reese with Spike Lee at Tribeca 2026

APART incorporates two distinct animation styles, including a visual approach inspired by Pola Maneli’s artistic language — work that centers Black identity and lived experience in South Africa. His artwork has been exhibited internationally, including at major cultural institutions.

A second influence draws from woodcut print traditions used during the anti-apartheid movement, when artists used reproducible print methods to bypass censorship and document resistance between 1948 and 1994.

The filmmakers also emphasize that the entire production was created by human artists, with no AI used in the making of the film — reinforcing the importance of authorship and craft.

Representing New York Women in Film & Television, Tammy Reese and LaKisa Renee covered the APART red carpet at Tribeca Festival, capturing interviews and behind-the-scenes moments from the world premiere.

LaKisa Renee conducted an exclusive red carpet interview with writer Spike Lee, highlighting his creative involvement in the project and the film’s cultural significance.

Tammy Reese interviewed director Pola Maneli, diving into the visual storytelling, historical inspiration, and animation process behind APART.

Together, their coverage offered a dual perspective on the film — bridging both the creative writing and directorial vision that brought the project to life.

APART stands as a striking example of how animation can function as historical reflection, emotional testimony, and artistic resistance. Through its layered techniques, culturally grounded design, and powerful narrative focus, the film invites audiences into a deeply human story shaped by division — but anchored in connection.

At Tribeca’s 25th anniversary celebration, it emerged as one of the shorts that lingers — quietly, powerfully, and long after the screen goes dark.

The post NYWIFT at Tribeca Festival: “APART” Animated Short Explores Friendship, Courage, and the Human Cost of Division appeared first on New York Women in Film & Television.

Welcome to NYWIFT, Christina Brennan!

Christina is a New York–based filmmaker whose work explores the emotional complexity of young womanhood through bold, conversation-driven storytelling. She is particularly drawn to dystopian, psychological thriller, and comedy genres, often blending tension and humor.

As a recent graduate, she made her directorial debut with the short film Dear Nora, which won first place at AGBO’s No Sleep ’Til Film Festival—marking an exciting start to her creative career.

In addition to her work behind the camera, Christina is the founder of Onore Films, a community dedicated to supporting and connecting young women in film through collaboration and shared resources. With experience across multiple areas of production, she approaches filmmaking as both a creative practice and a way to foster meaningful connection.

In our interview, Christina discussed her journey into filmmaking, the inspiration behind Dear Nora, and her passion for building community among emerging women in film.

NYWIFT Member Christina Brennan

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

Hi! My name is Christina Brennan, and I’m a New York–based filmmaker. During my senior year of college, I moved to New York because I wanted to challenge and immerse myself in the industry. I spent a year interning as a Production and Teaching Assistant at Stonestreet Studios NYU, where I gained hands-on, on-set experience and worked closely with students and industry professionals. 

I trained as an actor before moving behind the camera as a director, where I discovered my passion for storytelling through filmmaking. My directorial debut short film, Dear Nora, was fully executed in 48 hours and went on to win first place at AGBO’s No Sleep ’Til Film Festival. 

I’m also the founder of Onore Films, a community focused on connecting and supporting young women in film through shared resources and collaboration. As I continue developing my own projects, I’m eager to collaborate on larger-scale productions and gain experience across creative departments, including production design, producing, and social media marketing. 

What brought you to NYWIFT?

I first discovered NYWIFT while looking for resources and community as I navigate the early stages of my career. I was especially interested in finding spaces where mentorship and collaboration were encouraged, and NYWIFT felt like a great fit for that. I reached out last year to introduce myself and share a bit about my work [and] what I was building, and was encouraged to apply!

Christina Brennan on set

What initially drew you to directing and storytelling behind the camera?

I recently found a “script” that I must have written when I was seven or eight years old, which was a funny reminder that storytelling has always been part of my life.

One story my parents always tell is that I would send my little brother out to gather the neighborhood kids because I was too nervous to do it myself. Once everyone was there, though, I naturally stepped into the role of “directing” the group. We’d put on shows or film little movies together. Looking back, I realize I’ve always been drawn to organizing ideas and bringing people together to create something, and directing allows me to channel that same creative energy.

During college, I took a production class with a teacher who was incredibly influential for me. He introduced me to the technical and collaborative side of filmmaking, and that experience really sparked my interest in what happens behind the camera.

Christina Brennan on set

Congratulations on Dear Nora winning first place at AGBO’s Global Short Film Festival! What inspired the film, and what did the experience of directing it mean to you?

Thank you! Dear Nora was fully created in 48 hours. The prompt was “unlikely alliances or connections between incompatible beings.” The first thing I thought of when I read that was… myself! My inner critic is something I battle the most. I’ve always had a bank of film ideas, and one theme I wanted to explore was growing up with anxiety, especially as an athlete. This prompt felt like the perfect opportunity to finally write that story.

I always say that if you had asked me who the film was about while we were making it, I probably would have said myself. But once the film reached a large audience, I started receiving messages from the closest people in my life, as well as complete strangers. They shared how much they felt similarly every day. I remember being so blown away, realizing that the way I had felt [for] the majority of my life was something so many other people experienced too.

This project completely changed the way I think about storytelling and how I will approach it for the rest of my life. I feel extremely grateful to have learned at the start of my career, there is a huge responsibility that comes with telling stories and crafting characters. Once a story is out in the world, it no longer belongs to just you! Filmmaking offers such a powerful opportunity for connection, and it’s incredibly important to remind people that they aren’t alone.

Dear Nora won first place at AGBO’s 2024 No Sleep ’til Film Festival

How do your experiences across filmmaking, acting, and digital content creation shape the way you approach storytelling?

I think those experiences all taught me that you don’t have to wait for permission to create. You can make your own work, and you’re responsible for teaching yourself the things you want to learn. 

Growing up as an athlete also shaped the way I work creatively. I spent most of my life on teams, and that mindset carries into filmmaking. I see storytelling as a collaborative process where everyone brings unique strengths to the table. Being able to listen, adapt, and build something with a team is a huge part of how I approach directing and any creative work.

Why is building a supportive community for emerging women in film important to you?

I think this industry can often feel daunting and inaccessible, especially when you’re first starting out. In high school, I was encouraged by an academic counselor to pursue a career that was stable and paid the bills, and to keep creative work as a hobby. At 18, it felt impossible not to listen to that. So, I went to college and initially majored in Exercise Science.

I remember having a conversation with my parents, who are incredibly supportive, where I realized I was on the wrong path. I think a lot of people receive the same advice I did, and for many young women, pursuing a creative career can feel isolating, difficult to navigate, and sometimes even impossible.

At the same time, it’s also an incredibly exciting field with so much opportunity. As someone just starting out, building a community felt like a way to hold on to that excitement and focus on the positive. I also wanted it to be a space where I could document my own experience and the projects I was working on, in the hope that others might see themselves in that journey and feel less alone or more inspired in pursuing their own path.

Christina Brennan at the Tribeca Storytelling Summit

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

I’m currently developing a dystopian pilot that explores themes around healthcare and technology. I’m excited to continue building that project and finding collaborators who are interested in bringing it to life. The story touches on themes that feel incredibly relevant today and allows us to explore them through a different lens.

Alongside that, I’m eager to gain more experience working on larger productions in New York. I’d love to contribute as a production assistant, particularly in the office or art department, where I can continue learning and growing while collaborating with experienced teams!

Connect with Christina Brennan and Onore Films on Instagram at @_christinabrennan and @onorefilms, and read more about her path and Dear Nora on AGBOVERSE.

(All images courtesy of Christina Brennan)

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Welcome to NYWIFT, Anna Bick Rowe!

Anna is an Emmy Award-winning producer and Head of Production at Smartypants Pictures, an Academy Award-winning production company based in Brooklyn. She thrives on being “multilingual” within the industry, seamlessly navigating between commercial, nonprofit, and documentary projects.

Anna has worked on a wide range of high-profile projects, including serving as Executive Producer alongside Nobel Peace Prize Laureate Malala Yousafzai on Stranger at the Gate, which was nominated for an Academy Award in 2023.

In addition to her documentary work, Anna has produced content for brands such as Adidas, Delta Air Lines, The Lincoln Motor Company, Macy’s, Snapchat, Cadillac, Indeed, Cooper Tires, and Ford Motor Company, as well as films for dozens for nonprofits.  

In our interview, Anna shared her journey into producing, what working on the Oscar-winning documentary All the Empty Rooms meant to her, and her approach to social impact storytelling.

NYWIFT Member Anna Bick Rowe

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

I’m a producer currently working as Executive Producer and Head of Production at [the] Brooklyn-based production company, Smartypants. We produce branded content, documentaries, and social impact [and] nonprofit films. 

I live in Long Island with my husband, daughter, and 85 lb golden retriever. 

Anna Bick Rowe at the Hospital for Special Surgery, a creative partner of Smartypants Pictures.

What brought you to NYWIFT?

I’ve been a part of several women-led groups on Facebook and have found so many wonderful colleagues there, so I’m thrilled to join a larger community and connect with other great talent to collaborate with!

Anna Bick Rowe on the set of The Steepest Climb: How Delta Air Lines Navigated the Global Pandemic

How did your path in the industry lead you to producing?

I originally was on track to be a documentary film editor—I love the process of finding the best way to tell a compelling story that makes film subjects shine. I quickly realized that I wanted to be out in the field and involved much earlier in the process, but those editing skills gave me my early foundation for story producing. 

In college, I directed, produced, and edited my first short documentary about a local nonprofit in Boston. When it was done and they started using my film to spread the word about their efforts, I was hooked and knew this was what I wanted to do with my career. It was incredible to see the immediate impact it had.

Anna Bick Rowe at the 98th Academy Awards

Congratulations on All the Empty Rooms winning the Academy Award for Best Documentary Short Film! What did this project mean to you personally and professionally?

I could write an essay on what this project means to me, but I will try to be brief! We first started working on this project when my daughter was 6 months old. The weekend after we premiered the film at Telluride, I sent my daughter off to preschool for the first time. When she’s older, I want to be able to tell her that I did everything I could to protect her and all the other kids in the USA from these senseless tragedies. 

Politics aside, we should all agree on keeping our kids safe. Winning the Oscar is an amazing stepping stone to getting this film in front of as many people as [possible, and] we are hopeful that it will change hearts and minds.

Anna Bick Rowe at the 98th Academy Awards

Your work often bridges storytelling and social impact, collaborating with organizations, universities, and nonprofits. What responsibility do you feel filmmakers have when telling stories that intersect with real-world issues?

In today’s digital age of non-stop news and notifications, it’s so easy to feel overwhelmed and hopeless about our ability to make a change. With the films that I’ve worked on, our goal has always been to approach complex issues, such as school shootings, by digging down and finding real stories that you can relate to on an emotional level. 

We aim to make films that don’t preach to the choir and invite people to join the conversation without intimidation. We often receive notes from people saying they changed their views on an issue after viewing our films because the issue was humanized for them in a way that it hadn’t been before.

Anna Bick Rowe at the premiere of The Steepest Climb: How Delta Air Lines Navigated the Global Pandemic

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

We have a few projects in the pipeline! In addition to all of the great branded content and nonprofit work we do, we’re excited to jump into the world of feature documentaries for a bit.

Learn more about Anna Bick Rowe’s work at Smartypants Pictures by visiting www.smartypants.nyc and on Instagram at @smartypantspictures.

(All images courtesy of Anna Bick Rowe)

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Welcome to NYWIFT, Karen “Dr.K” Baptiste!

Karen “Dr. K” Baptiste is an investigative journalist and media storyteller whose work explores the intersections of race, education, and the criminal legal system. She is an Emmy® award-winning filmmaker of the documentary Preschool to Prison, and also works as a speaker, leadership wellness coach, and organizational strategist.

Her work centers lived experience, elevating voices that are often overlooked while connecting personal narratives to broader systems of accountability. Dr. K brings a rigorous, human-centered approach to storytelling that is grounded in care, amplification, and long-term generational impact.

Originally from the Bronx, she collaborates with mission-driven organizations, creatives, and community leaders across the country to support storytelling and leadership practices that foster meaningful change.

NYWIFT Member Karen “Dr.K” Baptiste

Could you give our readers a brief introduction to yourself?

I’m an investigative journalist and media storyteller focused on the real-life consequences of policy, especially where race, gender, education, and the criminal legal system intersect. My work centers on the people most impacted, elevating voices that are often ignored, dismissed, or reduced to statistics.

I’m also the founder of Pioneering Possibilities and Company, a consultancy that supports executive and senior leaders in building workplaces where their employees experience joy and effectiveness. At the core of everything I do is a commitment to dignity: telling complex stories with rigor, care, and humanity.

What brought you to NYWIFT?

I came to NYWIFT because I wanted to be part of a community of professionals who take craft seriously and believe in opening doors, especially in a field where access and opportunity can be uneven. I was looking for mentorship, collaboration, and a network that understands what it takes to build a sustainable media career while also doing work with stakes.

NYWIFT felt like a place where I could learn, contribute, and connect with women who are actively shaping the industry with integrity.

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

One lesson I learned the hard way is that talent and hard work aren’t always enough. You also need relationships, guidance, and advocacy. I wish I had understood the difference between a mentor and a sponsor earlier. A mentor helps you grow; a sponsor uses their influence to vouch for you when you’re not in the room.

Building those relationships intentionally isn’t transactional; it’s professional care. If I had the right community, I would have been able to shorten my learning curve, navigate politics, and protect my confidence when the work got hard. I also learned not to wait until you “feel ready” to ask for support. Ask sooner.

68th Annual New York Emmy Awards

Your project Preschool to Prison exposes the intersections of race, education, and the criminal legal system. What inspired you to begin this work?

This project is personal. My brother was sent to a prison directly across the street from his high school, and I watched what that did to him and how his mental health deteriorated in real time. He’s alive, but he will never be the same, and our family won’t be either. That experience changed how I see systems and how early the pipeline begins.

Later, when I visited schools, I saw practices that were heartbreaking: adults using humiliation, harsh punishment, and dismissal instead of care and accountability. Children’s emotions were treated like inconveniences, like their experiences didn’t count because they were “just kids.” But kids are full humans. When their pain is minimized, it often manifests as behavior, and too many schools respond by punishing minor infractions rather than supporting growth.

Preschool to Prison exists to document what I’ve witnessed, connect the dots, and push us to confront how we normalize harm, especially when it happens to children.

As an investigative journalist and media storyteller, how do you balance emotional truth with journalistic responsibility?

For me, emotional truth and journalistic responsibility aren’t opposites; they’re partners. Emotional truth means honoring what people lived through and how it felt, without sensationalizing their pain. Journalistic responsibility means verifying, contextualizing, and being precise about what I can prove and what I’m interpreting.

My approach is to lead with humanity and back it with rigor: I interview with care, I fact-check aggressively, and I’m transparent about what I know and how I know it. I avoid reducing people to their worst moment or their trauma.

When the story includes harm, I’m thoughtful about what I include, what I leave out, and how the audience might consume it. The goal isn’t to shock; it’s to reveal, clarify, and move people toward accountability and change.

What has been one of the most challenging or eye-opening moments in your reporting so far?

One of the most challenging and eye-opening parts of this work is watching how quickly harm becomes “normal” inside institutions and organizations, especially when the people harmed are children or underrepresented groups. I’ve sat with stories where a child’s distress was treated as defiance, where a cry for help turned into discipline, and where the adults in charge didn’t see themselves as causing damage because “that’s just how things are done.” 

In both corporate and nonprofit organizations, I’ve seen how adults’ needs and humanity can get minimized, too. People are expected to perform through burnout, bureaucracy, and unspoken rules that reward compliance over care. Over time, that normalization can make harmful practices feel “professional,” even when they’re quietly eroding trust, creativity, and mental health. It’s also been eye-opening to see how many people want change privately but feel powerless publicly. 

What keeps me going is the clarity that storytelling can disrupt that normalization. When you document patterns, connect lived experience to policy, and refuse to look away, it becomes harder for systems to hide behind language like “protocol” or “safety.” Real people are living with the consequences.

Looking ahead, what impact do you hope your work will have on communities and systems of change?

I want my work to help communities name what’s happening, feel less alone, and have language and evidence to demand something better. I hope it influences leaders and decision-makers to understand that policy isn’t abstract: every choice creates outcomes for real people, and those outcomes accumulate across generations.

I also hope it pushes a broader redefinition of leadership: leadership as listening, accountability, and repair, not just authority. We need leaders who can sit with complexity and build environments where differences are treated as strengths, not threats. And I want my storytelling to support an approach to change that’s proactive, not reactive, so we stop waiting for a crisis to justify care.

Connect with Dr. K on Instagram at @dr.kworld, on her website www.drkworld.com and check out the latest on her film Preschool to Prison @preschooltoprisondoc and www.preschooltoprisondocumentary.com.

To learn more about her Pioneering Possibilities and Company please visit https://www.pioneeringpossibilities.com/.

(All photos courtesy of  Karen “Dr.K” Baptiste)

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The energy was electric as NYWIFT contributors Tammy Reese and LaKisa Renee stepped onto the red carpet on Monday, June 8 at The Times Center in New York City for the highly anticipated premiere of Power Book III: Raising Kanan Season 5. In celebration of the series’ fifth and final season, the evening brought together an incredible cast, industry leaders, media professionals, and devoted fans eager to witness the next chapter in one of television’s most talked-about franchises.

As longtime supporters of compelling storytelling and groundbreaking performances, NYWIFT was honored to be invited to cover this milestone event. The red carpet provided an opportunity to connect with some of the talented individuals who have helped make Raising Kanan a cultural phenomenon.

LaKisa Renee, Patina Miller, Tammy Reese

Among the evening’s highlights was catching up with Tony Award-winning actress and past NYWIFT Muse Honoree Patina Miller, whose portrayal of Raquel “Raq” Thomas has captivated audiences since the series premiered. Patina has consistently delivered a performance layered with power, vulnerability, and complexity, making Raq one of the most unforgettable characters in the Power Universe.

Throughout the evening, Tammy Reese and Lakisa Renee conducted interviews with several members of the cast, offering fans exclusive insight into the final season and the journeys of their beloved characters.

Tammy Reese Interviews Patina Miller (“Raquel Thomas”)

LaKisa Renee Interviews Malcolm Mays (“Lou Lou Thomas”)

Tammy Reese Interviews Leslie Grossman (“Flossie”)

LaKisa Renee Interviews Joey Bada$$ (“Unique”)

Tammy Reese Interviews Erika Woods (“Stephanie “Pop” Henry”)

Tammy Reese Interviews London Brown (“Marvin Thomas”)

The premiere episode of Season 5 is one viewers will not want to miss. For day-one fans who have followed Kanan Stark’s journey from the very beginning, the opening episode delivers surprises that are certain to leave audiences stunned. The stakes are higher than ever, the tension is palpable, and the storytelling continues to raise the bar.

Over the course of four seasons, viewers have watched Kanan Stark navigate a world filled with ambition, betrayal, family conflict, and the pursuit of identity. Now, as the final season unfolds, Kanan fully steps into the person he is destined to become. With new alliances forming, old rivalries resurfacing, and power shifting across Queens, every decision carries significant consequences.

LaKisa Renee, Erika Woods, Wendell Pierce, Tammy Reese, Nick Hamilton

What has always set Raising Kanan apart is its ability to balance action-packed drama with deeply human stories. The series has consistently explored themes of family, loyalty, survival, and the cost of power while delivering standout performances from an exceptional ensemble cast.

As this chapter comes to a close, the impact of Power Book III: Raising Kanan on television and popular culture is undeniable. The series has expanded the Power Universe while giving audiences unforgettable characters and storylines that continue to spark conversation.

NYWIFT extends its heartfelt congratulations to the cast, crew, writers, producers, and everyone involved in bringing this remarkable series to life. Their dedication and creative vision have helped make Raising Kanan one of the most compelling dramas on television.

While this may be the final season of Raising Kanan, the Power Universe continues to evolve, and we look forward to covering what’s next. If the premiere is any indication, audiences should prepare for a thrilling, emotional, and unforgettable final ride.

Power Book III: Raising Kanan Season 5 premiered June 12 on STARZ. 

(Images courtesy of Tammy Reese)

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As part of the 25th Anniversary of the Tribeca Festival’s Reunions & Retrospectives program, audiences were treated to a special celebration honoring the 30th anniversary of Bound, the groundbreaking 1996 neo-noir crime thriller that continues to captivate viewers decades after its release.

Presented in association with Anarchists United, Bound marked the feature film directorial debut of Lilly and Lana Wachowski. The film follows Violet (Jennifer Tilly), a woman yearning to escape her volatile relationship with her mob-connected boyfriend Caesar (Joe Pantoliano). Her life takes an unexpected turn when she begins a secret affair with Corky (Gina Gershon), an ex-convict living in the apartment next door. Together, the women devise an ambitious plan to steal $2 million in Mafia money, setting the stage for a suspenseful and unforgettable thriller that has earned its place as a cult classic.

Tammy Reese, Christopher Meloni, and LaKisa Renee

The star-studded event took place on Sunday, June 7, at Spring Studios in New York City, drawing film lovers, industry professionals, and longtime fans eager to celebrate one of cinema’s most influential independent films.

Before the screening, attendees were treated to the New York premiere of Wild Ones, a thrilling narrative short written and directed by Leone DiSantis and executive produced by Lilly Wachowski.

Following the screening, audiences enjoyed an engaging conversation featuring director Lilly Wachowski alongside cast members Jennifer Tilly, Gina Gershon, Joe Pantoliano, and Christopher Meloni. Moderated by writer, comedian, and podcaster Julie Klausner, the discussion offered a fascinating look back at the making of the film, its lasting legacy, and the impact it continues to have on audiences around the world.

Tammy Reese, Christopher Meloni, and LaKisa Renee

Representing NYWIFT on the red carpet, Tammy Reese and LaKisa Renee had the opportunity to interview several of the evening’s celebrated guests, including Jennifer Tilly, Gina Gershon, Joe Pantoliano, Christopher Meloni, and director Lilly Wachowski.

The excitement surrounding the reunion was undeniable. From the moment the cast arrived, fans and media alike were eager to connect with the stars who helped make Bound such a memorable and influential film. The chemistry between the cast members remained evident, showcasing the enduring bond formed while creating a project that would go on to leave a lasting mark on film history.

Jennifer Tilly, who brought Violet to life with a performance that remains one of the most iconic of her career, radiated charm and gratitude as she greeted fans and members of the press. Gina Gershon’s portrayal of Corky continues to resonate with audiences, while Joe Pantoliano reflected on a role that remains one of his most memorable performances. Christopher Meloni, whose role as Johnnie Marzzone added another layer of tension to the film, was warmly welcomed by attendees excited to see him reunited with his castmates.

Lilly Wachowski’s appearance made the evening especially meaningful, as she reflected on the film’s creation and the remarkable journey Bound has taken over the past three decades. What began as a bold directorial debut has become a celebrated classic praised for its storytelling, suspense, and representation.

Jennifer Tilly Interview

Christopher Meloni Interview

Gina Gershon Interview

Joe Pantoliano Interview

Lilly Wachowski Interview

Beyond the nostalgia, the evening served as a reminder of why Bound continues to endure. The film challenged conventions, introduced audiences to complex and compelling female protagonists, and demonstrated the power of independent filmmaking. Thirty years later, its influence can still be felt across genres and generations of filmmakers.

For Tammy Reese and LaKisa Renee, covering the event was a memorable experience and a true highlight of this year’s Tribeca Festival. Witnessing the cast and creative team reunite to celebrate a film that continues to inspire audiences was both exciting and meaningful.

A special thank you to Jennifer Tilly for taking the time to shoutout NYWIFT on the red carpet and for sharing the photo she took with us on her Instagram page. Her kindness and support were greatly appreciated. We are incredibly proud of her legendary career and look forward to seeing her reprise her iconic role as Tiffany in the upcoming Chucky film.

As the Tribeca Festival celebrates 25 years of championing powerful storytelling, the 30th anniversary of Bound stood out as one of the festival’s most memorable reunions — an evening honoring a groundbreaking film, the talented artists who brought it to life, and the enduring legacy that continues to inspire audiences around the world.

(Images courtesy of Tammy Reese)

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