Welcome to NYWIFT, Sydney Sidner! Sydney is an award-winning filmmaker, screenwriter and educator with an impressive resume of work appearing on TV, film and in the theater. 

In our interview, she encourages creators to be both passionate and flexible. Read on to learn more. 

What brings you to NYWIFT? 

I have heard about NYWIFT for years and finally got around to it.

You’re such an experienced TV pilot and screenwriter. What are three tips you usually share with people trying to break into these areas? What else would you share with mid-career professionals? 

Tips. Hmmmm. Keep creating. Write and/or make stories you would love to see and really want to share. Find ways you don’t hate to support yourself that make that possible. If you can.

You’ve also directed theater for renowned companies both nationally and internationally. What qualities do the best directors possess?

I think great directors listen, watch, encourage, have a specific plan – and are willing to toss it out. 

Can you talk about the Pond Hill Writers’ Retreat, where you are an instructor? How do you think NYWIFT members could benefit from participating in an opportunity like this? 

I think any writers’ retreat that gives you the chance to take risks in like-minded company while unplugging from your daily life is a good thing. 

What projects are you working on going into fall and early next year? Anything to promote or brag about? 

I just got a job writing for NBC’s reboot of The Rockford Files. The writers’ room starts in July and the show airs in January. I’m incredibly excited to help make it great if I can. I’m also currently writing and producing an indie feature titled My Problem With Marriage to be directed by Peter Hedges and produced by Maven Screen Media. 

Connect with Sydney Sidner on her website at sydneysidner.com.

About Sydney Sidner

Sydney Sidner has taught TV pilot writing and screenwriting at Columbia film school, NYU film school and Stony Brook’s M.F.A. Manhattan film program. She taught acting, improv and directed at The Dalton School and taught both theater and screenwriting classes at Northwestern University’s National High School Institute (NHSI).

After receiving a BFA in acting from Carnegie-Mellon, she went to New York and began directing plays at venues including Manhattan Class Company, Circle Rep, Lincoln Center, The National Theater of London, and Williamstown Theater Festival, where she was awarded the Boris Sagal Directing Fellowship. She was also awarded grants from The Drama League of New York, Circle Rep Lab and New York Foundation for the Arts.

She went on to earn an MFA in screenwriting from Columbia Film School, where her short THE RITE won ‘Best Film’ at the Columbia Film Festival, and was a finalist for The National Board of Review’s ‘Best Student Film.’ 

(All images courtesy of Sydney Sidner)

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Welcome to NYWIFT, Jennifer Sklias-Gahan!

Jennifer is a New York-based actress, writer, and filmmaker. She is the founder of Demivoula Studios and 18 Bleecker Films, an award-winning production house. 

She is known for her work in The Urban Ghost Story: Matilda, a short film she wrote and stars in with actor Sean Avery, produced by  Academy Award-winner Christine Vachon and 18 Bleecker Films. Matilda took home several honors on the festival circuit, including Best Short Film.

She recently completed the indie feature The Cutting Room Floor, and has two other features filmed in 2025 (The Wingers and Windows) being released in 2026. 

Jennifer’s gothic ghost story book, The House in the Middle of the Street, the first in a series of dark tales, is now available worldwide, distributed by Simon and Schuster. A gorgeous vinyl version, beautifully illustrated by Myles Mullen, is available through Rare Bird publications. The audio version, narrated by Jennifer herself, will have a worldwide release this summer.

She’s currently writing the next book in her gothic series, The Last Days and Nights of Ellie Boread. Jennifer plans to create this ancestral narrative into a feature film. 

In our interview, we discuss her career through acting, directing, writing, and owning a production company; gothic aesthetics; and her upcoming projects.

NYWIFT Member Jennifer Sklias-Gahan

Could you give our readers a brief introduction to yourself?

My name is Jennifer Sklias-Gahan, I am a New York-based actress, writer and filmmaker. I have acted on stage, television and film. I’m the founder of Demivoula Studios and co-founder of 18 Bleecker Films. My work has been described as atmospheric with darker toned narratives. 

What brought you to NYWIFT? 

A fellow filmmaker [NYWIFT Board Member] Sibyl Santiago mentioned NYWIFT to me this past year. Sibyl is a co-founder of SOHO International Film Festival. We met years ago when one of my films, Data Management, premiered there. This past year, after my short film Clock Shop screened at SOHO, she mentioned her involvement with NYWIFT.

I have always been interested in NYWIFT and the powerful advocacy it creates for us in this industry. As I mature in this craft of storytelling, I want to share what I’ve learned and receive the strength of other women in the film industry. Together we can create opportunities and encourage the gifts we have as women storytellers. We have so much to say and its exciting to see all the diverse ways we can create.

Thank you, Sibyl, for all your support! I am looking forward to growing as a community and making movies.

Jennifer Sklias-Gahan on the set of The Rise of Whore Betsy

How does being a writer and director influence the way you approach acting roles? 

Actors, writers, and directors (as well as producers) are all storytellers; each tells the story with different tools. My experience as a writer and director makes me a better actor; it gives me a deeper understanding of character motivation, the importance of visual storytelling, and the practical constraints of a film set.

My purpose as an actor is to bring my part of the story to life knowing I am following the writer’s arc. Knowing from a director’s position, the time and financial constraints in getting certain shots throughout the day, sound issues and footage needed for editing, gave me more awareness as an actor of what was most valuable to be a part of telling a story.

Having the adaptability to play with preparation and freedom under whatever creative limitation may exist with a positive attitude is a needed strength. When it comes together, its magic. Filmmaking is truly a committed collaboration: nothing like it when it works!

Clock Shop was a film without dialogue, so directing the actors solely as visual storytellers brought home how their behavior, facial expression, and internal world, fully tells a story without a spoken word. Behavior and the internal workings of an actor is essential to the truth of a story. Let the camera have it.  

Jennifer Sklias-Gahan in The Urban Ghost Story: Matilda

Many of your projects, especially your short film Clock Shop and your book, The House in the Middle of the Street, are very gothic in style and tone. What continues to draw you to this aesthetic? 

From a young age I was enchanted by fables, myths and fairy tales, which delve into the classic epic struggles of human nature’s darkest tones. I level the intensity and richness Gothic tradition in literature and films tell the stories of our buried secrets and reveal layers of reality with supernatural possibilities that terrorize us. To me, this genre is the ideal landscape to explore how much goodness we hold within us while we fight our hidden shames and weigh the cultural demands put on us to see what parts of ourselves will decide our fate.

In my gothic tale, The House in the Middle of the Street, the first character I introduce you to is the House. It is a beautiful, decadent and gifted home that sets the stage for one family’s dream of building a bright promised future. Along the way an ancestral sin is visited upon this family and they are taken under a powerful spell that delights in their imprisonment and decay. The gothic genre investigates our deep human truths in such a gorgeously dangerous way. 

My short film Clock Shop was a homage to The Twilight Zone, written by Rod Serling, one of my greatest influences. The Twilight Zone is placed in a sci-fi genre however it shares some gothic vibes in its social commentary, and it highlights our dark side. Serling took a common day in a human life and painted it into a world of extraordinary circumstances and uncanny possibilities.

Clock Shop brings you close to a woman engaged in simple daily tasks at her shop, yet once her first customer of the day enters, she steps into an uncertain moment-to-moment game of life.

What are some of the challenges you’ve learned from co-founding your production company, 18 Bleecker Films and Demivoula Studios? 

Expect to make mistakes and keep working through to completion. You do the work to the best of your ability, work through creative limitations and have a finish date. It might never feel done, but it has to be born and set free, so let it. Move on to the next project and do it all again. 

NYWIFT Member Jennifer Sklias-Gahan

What advice do you have for young creatives?

Go for what you don’t think is possible. Learn the history of your craft. Believe in your unique take of creating, that’s what you have to offer. Be the first one there and the last to leave. Treat every job like its the million dollar one and you will grow the muscles you need to work at your highest level.

Looking ahead, do you have any upcoming projects that you can tell us about? 

I’ve just completed filming The Cutting Room Floor, written and directed by Victoria DeMartin. I’m looking forward to seeing that film released this coming year along with two other features I filmed in the fall of 2025: Windows, written and directed by Andre Degas, and The Wingers, written and directed by Tina Alexis Allen. 

I am writing the next book in my gothic series, titled The Last Days and Nights of Ellie Boread. The series began with The House in the Middle of the Street, which is out in hard copy, ebook, and an exclusive vinyl version. The audio will be released this year. 

Connect with Jennifer on her website jenniferskliasgahan.com and her YouTube channels, Demivola Studios and 18 Bleecker Films. Readers can also follow her latest publication for her book The House in the Middle of the Street at thehouseinthemiddleofthestreet.com. Follow her on Instagram at @jennifer_sklias_gahan.

(All images courtesy of Jennifer Sklias-Gahan)

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Welcome to NYWIFT, Katie Shannon!

Katie Shannon is a producer and casting professional based in Brooklyn, with a storied background in marketing and brand management.

She now works in administration at Weiden+Kennedy while bringing her creativity and organizational skills to various New York-based film and theater productions.

Katie will be producing the US circuit of a one-woman show at The Brick on October 8th with London talent, Temi Wilkey. Notably, Temi’s European show, Lover Girl, recently got accepted into the Edinburgh Fringe Festival and the SoHo Theatre in London.

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

Thank you for having me! My name is Katie Shannon. I was born and raised just outside of Philadelphia and moved to Brooklyn five years ago, where I’ve been ever since. I currently work full-time in administration at Wieden+Kennedy New York while also freelancing as a casting director and producer.

I’ve had the opportunity to work across festivals, theater, and independent projects, supporting casting, pre-production, and on-set coordination for organizations including NBCUniversal, Bushwick Film Festival, SheNYC Arts, Tribeca Film Festival, and GUSH NYC, among others.

Before transitioning into casting and production, I built a strong foundation in marketing and client management, working with brands such as YouTube, Google (under Google Fi), Samsung, Morgan Stanley, and E*Trade. Now, I’m continuing to expand my work across film and television while growing my experience in administration, blending creative instincts with a background in project management, operations, and audience engagement. I’m especially drawn to collaborative environments that value authenticity, strong creative vision, and meaningful storytelling.

What brought you to NYWIFT?

What brought me to NYWIFT is the roster of incredible folks and all of the community networking and speaker events there are. I’m early in my journey within casting and production so I’m eager to continue growing, both by expanding my network and learning from mentors in the creative space.

The affinity groups and networking opportunities that NYWIFT offers feel like a meaningful way to develop both professionally and personally. I’m especially excited to take on more work as a producer and to play an active role in bringing underrepresented stories to the screen.

What’s a career catalyst you can share with us that started your work as a producer and casting professional?

After spending two years in New York working at marketing agencies, I took a step back to reassess what I truly wanted and where my passions lay. I explored roles in retail and the food industry, which gave me the flexibility to invest time in networking and community-building. Through groups like Media Makers, I began reaching out to industry professionals for coffee chats and seeking insight into their career paths and advice on breaking into creative fields. Those conversations were pivotal. After speaking to one mentor consistently from Media Makers, she gave me the advice to explore casting and producing, as my interests naturally aligned with both.

From there, I began volunteering to gain hands-on experience, starting with the Bushwick Film Festival. That initial step quickly built the momentum I needed. I went on to work with SheNYC Arts under Rosie Corr, where I helped cast an off-Broadway production at the Connelly Theater. I also supported an NBCUniversal Unscripted Producers conference, assisting with filmed interviews from leading producers, and later worked behind the scenes with Kweighbaye Kotee on the Tribeca Film Festival Shorts winner New York Day Women.

You have so much amazing experience supporting some of the top festivals! What is your favorite part of working in that space?

Thank you so much! My favorite part was connecting with the creative minds behind such inspiring work. The rooms felt electric! It was filled with joy, fresh ideas, and an incredible depth of talent. Being in that energy was both inspiring and motivating, and it only deepened my desire to be part of projects like these.

Tell us about a favorite and impactful project or moment you experienced as a story shaper!

A project I’m especially proud of was working as a casting assistant on Mere Waters with director Rosie Corr. It marked my first time being part of the full casting process, including in-person auditions, which was incredibly exciting. Seeing such powerful talent up close was exhilarating, and I was fortunate to stay involved throughout supporting rehearsals, running lines, and being part of the journey all the way through its live run at the Connelly Theater.

The production itself is a raw and moving retelling inspired by the life of Gisella Perl, drawing in part from her memoir I Was a Doctor in Auschwitz. I’m deeply grateful to have worked alongside such a dedicated and talented team, including actors Caroline Hertz, Amilia Shaw, Branwyn Ritchie, Doriya Bolton, and Laurel Andersen, as well as the brilliant playwright Jillian Blevins Sampieri.

Your marketing and advertising experience is incredible. What are some skills and insights about the relationships between marketing and storytelling you could share, specifically to artists and industry professionals who want to understand distribution and attention?

Thank you for your kind words! Across my work with clients like YouTube, Google Fi, Samsung, Morgan Stanley, and E*Trade, I’ve learned that the most durable distribution strategy is rooted in a strong, consistent voice and a clear narrative. Brand recognition can ripple over time, and that same principle applies to artists and industry professionals trying to gain traction. Your storytelling is your everything, especially with first impressions in your campaigning or pitches. Memorable messaging that is mixed with a compelling story will help audiences quickly understand what you’re offering but more importantly why it matters and should matter to them.

Whether it’s a campaign or a creative project, you need to communicate an engaging idea in a way that captures attention immediately while still pointing toward a clear objective you want your audience to take away.

Tell us about a dream project you want to work on next!

It would be a dream of mine to help produce and execute commercials & television series, especially one in the spirit of shows like Schitt’s Creek, Beef, The Bear, and Heated Rivalry. I’m drawn to projects that blend sharp, emotionally strong storytelling with meaningful representation, while also creating space for collaboration across every level of production.

Being part of a team that not only tells compelling stories but also empowers the people behind them to shape the narrative would be incredibly fulfilling. In an ideal world, that’s exactly the kind of work I’d love to contribute to next.

Connect with Katie Shannon on LinkedIn and on Instagram at @thekatieshannon.

About Katie Shannon

Katie Shannon is a Brooklyn-based producer and casting professional passionate about storytelling that amplifies authentic voices across film, TV, theater, and unscripted content. Currently, she works full-time in administration at Wieden+Kennedy, where her creativity and organizational skills shine. With experience supporting projects for the Bushwick Film Festival, Tribeca Film Festival, SheNYC Arts, and NBCUniversal, Katie excels in casting coordination and production logistics. Her media and marketing background includes working with clients like E*Trade, Google Fi, Morgan Stanley, and YouTube. Driven by collaboration and bold creative vision, she is committed to fostering meaningful connections and elevating unique narratives in every project.

(All images courtesy of Katie Shannon)

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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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