Women Cinemakers I believe that the most compelling power of a documentary is to expand our understanding and knowledge of ourselves and the world. It’s important we be active and engaged in the creation of the world we live in otherwise someone else we do the creating for us and before we know it the world we live in does not reflect our values and may not even be beneficial to us. Our engagement could be as intimate as being kind to ourselves and others or as broad as engaging in national and even international movements. With the every day demands we face—family, relationships, jobs, health, societal pressures, school—we tend to fold inwards resigning ourselves to the belief that we are too busy or that we do not matter or that we are powerless to create the change we want to see. For this reason, I am compelled to tell truthful, optomistic stories that speak into possibilty so that rather than leaving our audiences feeling overwhelmed, discouraged or upset, audiences are left feeling activated and energized. Each of our thoughts and actions do matter and that the stories we tell shape the world we live in. We have been impressed with your stunning approach to documentary, that allows you to captures hidden emotional reactions with and at the same time with : what was the most challenging thing about making this film and what did you learn from this experience? Moreover, do you think that your being a woman provides your artistic research with some special value? I prefer to reveal “what is” allowing the audience to come to their own understanding rather than deliver a message. I like interview
Women Cinemakers to journey in the world of feelings and emotions rather than intellect. As a woman, I may have an advantage in the realm of feelings and emotions both in the production phase and in the post production phase. I tend to fall into unconditional love with my subjects and I believe they sense that. I am not interested in judging anyone, but I do want to be truthful and authentic and I do want to go deep. I am willing to be vulnerable and my willingness to be open and transparent allows for the subjects of my documentaries to do the same. I would not ask anyone a question that I would not also be willing to answer. The balancing act is always to go deep enough to get at the truth while at the same time respecting boundaries. During the editing process, I allow my feelings as well as my intellect to guide me. We have appreciateted the way you provide excerpts from real life with sich moving poetic qualities: how does your everyday life's experience fuel your creative process and address your choices regarding the themes you explore? I find human beings infinitely fascinating and mysterious. I am curious about who I am and that leads me to be curious about others, about how others engage with the world, how they see things, how they find joy, what makes them sad, what brings meaning to their lives, what are they willing to fight for, what brings them peace, what are they driven to achieve, what hurts them, what comforts them, how are they able to overcome the obstacles they face, what do they think is important, etc.
Women Cinemakers I am curious. Making films allows me to make use of my curiousity, to explore, to learn new things and to express that inexplicable mysterious part of being human that cannot be described with words. Over the years your works have been screened in several occasions and was awarded ''Best U.S. Premiere'' at Heartland Film Festival: how much importance has for you that you receive in the festival circuit? And how do you feel previewing a film before an audience? Making films is hard work and getting to participate and share my work in film festivals is a beautiful reward, receiving awards is icing on the cake. The most satisfying aspect of the BIG VOICE journey has been seeing it through the eyes of our audience members both at film festivals and special screenings. Before leaving this conversation we want to catch this occasion to ask you to express your view on the future of women in cinema. For more than half a century women have been from getting baehind the camera, however in the last decades there are signs that something is changing. What's your view on ? Do you think it is harder for women artists to have their projects green lit today? In the past, if you asked almost anyone to describe a film director they would immediately start describing a man. Today, because of outspoken advocates for women directors and the fact that the media is paying attention to the need for women directors, more and more people are starting to realize that women can be powerful directors too. I think one day, not so far in the future, women directors will be selected on the merit of their work rather than dismissed because of their gender. We’re not quite there yet, but there is progress being made. To further that progress, please close your eyes and visualize a female director helming a movie. Thanks a lot for your time and for sharing your thoughts, Varda. Finally, would you like to tell us readers something about your future projects? How do you see your work evolving? I am currently working on another feature music documentary called , Executive Produced by Kabir Sehgal, about a musical convergence between the Son Joracho artists of the remote regions of Vera Cruz, Mexico and the New York City based Afro-Latin Jazz Orchestra at the border wall between Mexico and the United States. Together, through music, they transform the wall from a structure that divides into something that unites. Music like the wind, like birds, knows no borders. An interview by Francis L. Quettier and Dora S. Tennant [email protected]
is a captivating short film by filmmaker and playwright Inès Arsi: demonstrating the ability to capture the subtle dephts of emotions and addressing the viewers through a An interview by Francis L. Quettier and Dora S. Tennant [email protected] multilayered journey, her film questions the notions of freedom, social stereotypes and women's identity in our globalised still male oriented society. Brillianrly constructed, offers an emotionally charged visual experience, walking the viewers encouraging cross pollination of the spectatorship: we are particularly pleased to introduce our readers to Arsi's captivating and Inès Arsi Women Cinemakers meets Lives and works in Tunis, Tunisia After 5 years of college, Inès Arsi decides to drop out of the Pharmay University to study cinema. Graduated in scriptwriting and directing at the Graduate School of Audiovisual and Cinema (GammarthTunis), Inès Arsi made a few short movies screened at arabic and international festivals. She studied then the documentary genre at LA FEMIS (Paris-France) where she made "All The Truth, Nothing But The Turth) which is a mockumentary. Her project graduation "Yes But Not" was seen at some festivals which gave her the opportunity to be a member of the UNIMED jury at the 74th Edition of La Mostra of Venice. She is actually working on her upcoming short fiction with Yol Film House.
Women Cinemakers multifaceted artistic production. Hello Inès and welcome to : we would start this interview with a couple of questions regarding your background. You have a solid formal training and after having graduated in scriptwriting and directing at the Graduate School of Audiovisual and Cinema (Gammarth-Tunis), you nurtured your education in the field of documentary at LA FEMIS (Paris-France) : how did these experiences influence your evolution as a filmmaker? Moreover, how does your direct the trajectory of your artistic research? What needs to be mentionned is the fact that these two institutions are not the only ones which contributed to who I am today as a filmbaker, but strangely my studies at School of Pharmacy did influence my work and conception of things. In Tunis, I was able to discover the world of fiction and in France the world of documentary. This latter was for me an opportunity to step out from my comfort zone, because making documentaries is not about filming people, but rather with people. My uprbringing including traditions and customs are seen as something “holy” and true. This pushed me to put into questions those beliefs and demystify what is considered undebatable. For this special edition of we interview
Women Cinemakers
Women Cinemakers
Women Cinemakers interview have selected , a captivating film that our readers have already started to get to know in the introductory pages of this article. When walking our readers through the genesis of , would you tell us how much importance was for you to make a personal film, about something you knew a lot? The main character echoes some of my personal traits in terms of my impulsivness: Both of us do not let auto-censorship prevailing our decisons or actions and dear to challenge society norms for our personal happiness and fulfillement. This short movie revolves around a personal theme, because it gives space to things to happen wheras in reality, it is complicated to do so. Elegantly shot, features gorgeous cinematography by Mohamed Achref Jaghmoun: what were your when shooting? In particular, what was your choice about camera and lens? At first, I wanted symetrical cinematography where the rule of the thirds is respected. I was visualizing the movie in neat and fix shots but with rehearsals, I understood that I had to be as dynamic as the actions. This is where the ‘”pose plastique”and the flipping shots came from. I shot with a Black Magic Cinema Camera 2.5k with a 50mm lens for the majority of the shots. I also used an osmo device and a Ronin to have fluid movements while following the main character. With its brilliantly structured storytelling
imparts unparalleled psychological intensity to the narration, to unveil an ever shifting internal struggle. We have particularly appreciated the way the dialogues of your film: would you tell how did you develop and of your film in order to achieve such powerful results? Weddings always made me feel uncomfortable. Ironically, assisting to a wedding ceremony inspired me to write this script. The main character is the outcome of several acquintances of mine whom I admire and influenced the shapin of . I tried to enrich the plot with multipal dualities : the heroin facing the social system vs the heroin facing herself, the reality vs illusion, loneliness with and without individuals... I opted for an open ending, not to confuse the audience, but rather to picture the psychological state of the character. As you have remarked once, the initial idea of didn't spring from
: we have particularly appreciated the way you used cinema as a mirror of society, urging the spectators to inquire into the notion of female identity and of freedom in our globalized still patriarchal and male-oriented age. What do you hope will trigger in the audience? In particular, do you think that your being a woman provides your artistic research with some special value? During and after the process of watching the movie, I want the audience to reflect on their own decision making, experiences and ponder on every single decision whether it is a fulfulling one or not. My ultime aim is to dissociate the notion of personal will from society will or expectations. This goal may not seem as a gender-oriented one, but I confess that the circumstances of the writing and shooting process made me aware of how many women can be potentially victims of social pressure, due to the patriarchal context we are living in. Being a female filmmaker in Tunisia gave me the opportunity to portray situations lived by women
Women Cinemakers with a female perception. It is not about the sereotypical “feminine touch”, but rather the ability to understand, describe objectively scenes that I potentially could have lived. As one of the pioneers of feminist art, Italian Baroque painter Artemisia Gentileschi, Victorine Meurent not fall prey to the emotional prettification of a beloved subject and seems to be tribute to the issue of women's identity. Mexican artist Gabriel Orozco once stated, " Not to remark that almost everything, ranging from Gentileschi's to more recently Valie Export's work could be considered political, do you think that could be considered political, in a certain sense? Absolutely! I do believe that every work of art is politically involved whether we admit it or not. YES BUT NO has taken place in specific sociopolitical circumstances where Tunisians were debating over constitutional women rights. Even though, this movie is not explicitly political, but it definetely is pointing to the leigitimate right of approving or disapproving about different issues and different domains. In you leave the floor to your characters Layla and Qais, brilliantly performed by Kmar Ben Soltane and Hichem Barcous, inviting the viewers to develope a bridge between their own inner spheres and their epiphanic journeys: what was your preparation interview
Women Cinemakers
Women Cinemakers
Women Cinemakers interview with actors in terms of rehearsal? Can you say something about the collaborative nature of your filmmaking style? The two main actors were generous, in the sense of making the script vivid. I gave them the last draft, we met, we did a “lecture à l’italienne” – where every actor reads his/her part without really performing it-. They propose a couple of changes in the dialogue and we agreed on the appropriate alternatives that go with the fluidity of the context. YES BUT NO had an initial structure to which suggestions and new ideas were added up to it, to create the final work. Once I finished the script, I technically broke down the scenario and made a list of shots that I discussed along with my Director Of Photographry and my Sound Engineer. On set, we tried to figure out what was feasable or not. From the first time we watched we have been deeeply impressed with its refined realism, capable of pulling the spectators into : how did you select the locations and how did they affect your shooting process? I chose the locations based on their aesthetic sides, but also for technical issues: the distance that separated all the locations, the shooting permits, the surface of the interiors... It is quite hard to have a shooting permit in Tunisia, but
Women Cinemakers that did not stop me. In fact, I shot without permits in several locations (the great wheel, the train, the main avenue...). I think that you have to break some rules when you are making a movie about going over the system. I tried to follow a certain logic when it came to choose the locations : starting from traditional interiors to wide, open and modern exteriors. I did rehearse with the actors and the DOP in the locations too, because the camera movments are organically linked tho the space, we changed things, we adjusted others... It's important that you have had the chance to be a member of the UNIMED jury at the 74th Edition of La Mostra of Venice, so before leaving this conversation we want to catch this occasion to ask you to express your view on the future of women in cinema. For more than half a century women have been from getting behind the camera, however in the last decades there are signs that something is changing. What's your view on the future of women in cinema? It is unfortunate to say that for a long time, women had only been called in the industry for acting jobs or for the beauty department. Being behind the camera has always been seen as a male job. But it is changing now, at an easy, slow pace, but we can see the industry evolving from a male-dominated field to an area where people are judged based on their abilities and talents and not on their gender. With the rising of movements such as Time’s Up or Me Too, women can finally speak up without fear. interview
Women Cinemakers
A still from Women Cinemakers
Women Cinemakers interview The fact that it is happening and echoing on every culture is a positive sign. It is true that the number of female filmmakers are really low compared to the male ones, but I am optimistic. It is a bit hard to be the leader of an all-male crew but we, women, have to believe in ourselves. Fear inhibates the creativity and we should only be afraid of not trying things out. Thanks a lot for your time and for sharing your thoughts, Inès. Finally, would you like to tell us readers something about your future projects? How do you see your work evolving? I am working on another short and on my first feature. Both of them are realated to the women conditions in the modern society. Some may think that it is an easy way to make a trending movie if the plot is a feminist one, but I have to say that until there is no concrete equality, female filmmaker should talk about it. On the other hand, I am trying to do both fiction and documentary. Going to workshops, meeting directors from every horizon awaken me and make me aware of the existence of other definition of the notion of ‘cinema’. An interview by Francis L. Quettier and Dora S. Tennant [email protected]
Hello Ji Hyun and welcome to WomenCinemakers: before starting to elaborate about your artistic production, we would ask you some questions about your background. Are there any experiences that did particularly influence the evolution of your practice as a filmmaker? Moreover, could you tell us what are your biggest influences and how do they affect your artistic research? In my teenage years, my brother and I used to stay home alone since both of my parents were working. We also had to eat by ourselves. When we had our meals, we always watched a movie. Thanks to my father, an early-adopter and a movie fan, we had a video player very early with a quite large videotape collection of movies. I enjoyed watching old movies over and over again, An interview by Francis L. Quettier and Dora S. Tennant [email protected] for example, Gone With the Wind and Back to the Future for more than 30 times as I recall. It was fun discovering new details every time I watched a movie again. It was also fascinating that the same movie delivered different feelings and messages as I grew up older and acquired new experiences. This memory from my youth led to my goal as a filmmaker to make films that people want to watch again, and for some, would never grow tired of. Another thing is a film camera, which my father kept in his suitcase. I could not even touch it since like other Korean parents at that time (and many even now), my parents wanted me to focus on formal education that could help me enter a “good” university and get a “decent” job. The camera was forbidden to me as they thought it would distract me from my studies. After a long secret desire, I finally got my own camera when I became a university student. The start was more like breaking a taboo and enjoying my freedom, Ji Hyun Kim Women Cinemakers meets Junkyu works for HereForYou an app-based service company. He travels around the city at night on a scooter to help people with a variety of tasks.
Women Cinemakers but it soon fascinated me. Particularly, it felt so good when I could take a photo or a series of photos that can tell a story. I could not cut down on this addiction while I struggled to adapt myself to the competitive Korean society. Creation gave me irreplaceable satisfaction, which eventually gave me the courage to deviate from the track I had been following until then and find my own way as a filmmaker. For this special edition of we have selected , a captivating film that our readers have already started to get to know in the introductory pages of this article. What has at once captured our attention of your clear approach to storytelling is the way it provides the viewers with such . How did you come up with the idea of this film? Could you tell us what did attract you to this particular story? Since I moved away from my family to study filmmaking in New York, I naturally came to spend more time alone observing strangers around me. New York was full of colorful diversity and vitality but I could also frequently encounter people isolated in this big city. They were busy interacting with each other, but it seemed that they were just doing their social roles without finding a real connection. It was also easy to notice people who could not let go of their mobile phones even in the company of others. Although new means of communications were springing up with fancy techs, people were still isolated and lonely as they had been. To share this observation, I started to imagine what people do with their loneliness and came up with a fictional mobile app called “Here For You.” interview
Women Cinemakers
Women Cinemakers
Women Cinemakers interview Brilliantly shot, features essential urban landscape cinematography by Ari Rothschild and keen eye for details: what were your when shooting? In particular, what was your choice about camera and lens? One key decision I made through discussions with Ari was to avoid close-ups and use wide and medium shots to the extent possible. I wanted the audience to observe the characters in a distance and navigate all the space where each of the characters belonged to. I wanted the audience to understand and feel about people’s loneliness in their own way through the “ambience” created by an inseparable combination of multiple characters and spaces, rather than in my intended way through the character, lines or story of the main character. For the camera and lens, to be honest, my choices were limited to the packages that my school owned and lent for free to students since I had a tight budget . I chose the RED Scarlet camera as I thought it delivers the cinematic look with high digital resolutions and raw files. The lens package I borrowed was Zeiss Nikon, the lens set with the best spec I could choose from my school. We have deeply appreciated your psychologically complex portrayal of the dynamics of the urban context, as well as your characteristic astonishing verité quality: what was your preparation with actors in terms of rehearsal? In particular, do you like spontaneity or do you prefer to meticulously schedule every details of your shooting process? I had three rehearsals with the lead actor and one rehearsal with the supporting actors. We talked about the characters and the hidden
background stories beneath the main story for a deeper understanding of each of the characters. We also talked about our own experiences that relate to the emotions of the characters since I think understanding others’ feelings comes from reflecting on our own feelings. Then we read the dialogue a couple of times. I do not prefer spontaneously making a big change to the lines on set. Sometimes we had to spend more time for extra takes until the actors became familiar with the original lines in the script. However, other details like movements and gestures remained flexible during the rehearsals and even while we were doing blocking on set. I like having many spontaneous variations for movements and details that goes along with the live situation of the set. We like the way your intimate close-ups created entire scenarios out of psychologically charged moments: in Ambience you leave the floor to your characters, highlighting their mutual interactions and finding such brilliant ways to create a channel of communication between their daily journey and the viewers' emotional sphere. What are you hoping Ambience will trigger in the spectatorship? We all have emotions that we are keeping inside and cannot properly express in words. Instead of speaking out loud, the
characters in Ambience indirectly express how they feel in their own ways. Nevertheless, each character leads us to feel the same humane emotion through the relationship with Junkyu in this story. In the end Junkyu finally understand what they want to express through a series of encounters with them. In that aspect, the characters in this film including Junkyu are no different from each other as well as from any of us. I wish the audience take this short journey with Junkyu and understand how we feel and what we need. In this film you leave the floor to your characters, and we have particularly appreciated that though your inquiry into the personal sphere of the character of seems to be , yet your film strives to be full of emotion: what was your preparation with actors in terms of ? First of all, I found that the lead actor, Chris Kim is a brilliant actor who has a remarkable capacity to perform very different roles. At first sight at the audition, I had a good impression on him but I was worried that his real personality might be quite different from the lead character Junkyu. Luckily, he was open to dig out his past experiences that allowed him to connect himself to the character as well as to share those experiences with me. I reckon that people have multiple sides although it is sometimes easy to define one’s own self in a simplified
Women Cinemakers interview manner as it superficially appears. Chris also understood this aspect and tried to find Junkyu inside himself. We together talked through how Junkyu would feel like in each scene in details at the rehearsal. He surprised me with his amazing transformation to Junkyu. We dare say that could be considered an effective allegory of : how does your fuel your creative process to address your choices regarding the stories you tell in your films? I am fond of observing others and listening to others. This became my habit, and often times, I find myself having strong empathy with them as if I am them. I enjoyed making a story that reflects my process to understand people. For instance, in the case of Ambience, I naturally sensed the same feelings that I could not express in words over and over by observing and listening to others. I also found myself having the same feeling, which became stronger under my own circumstances where I was living alone in a strange city. I set up myself as Junkyu and I started to make a story by reconstructing/transforming what I’ve seen and been told. I hope the audience walked through the story as I did. We would like to introduce our readers to , a five-part dramatic series written and directed by Elisa Sofia Fioretti: centered on the story of an an ItalianAmerican widower who lets technology into his life initially to stay connected to his granddaughter and, with a little practice, to find a long-lost love. As remarked in the director's statement, this film aims at giving to the spectator a closer look at the people we innovate for and
Women Cinemakers
Women Cinemakers
Women Cinemakers an opportunity to see how what we do matters – especially through their eyes. While walking our readers through of , would you tell us how process was? Any interesting stories from the set? I am pleased to introduce miniseries Through Your Eyes directed by Elisa Sofia Fioretti which I produced last year. The story is loosely based on Elisa’s relationship with her grandfather. She has pretty close relationship with him, and because of some life events that shook him she decided to approach him with iPad so they could stay closer while she was living in the U.S. and he was in Italy. When Elisa saw this opportunity of talking about this topic and wanted to open a small window on something which is not really talked about in the main stream. She made sure to speak about something that was close to her and something she knew could be genuine. After she was offered the funds to bring this story to life, she started a personal research on how technology actually affects elderly men and women and where it sometimes has amazing results, even to patient with Alzheimer. This brought us to speak about something a little bit bigger than just the main topic of technology, but also about love, friendship, family and second chances. It was a challenging shooting, but we had a lot of fun. I think the funniest memory of the shooting is when we had a break after shooting the Bocce game, our crew actually decided to have a small tournament of bocce during our lunch break. It turns out Bocce is more entertaining than we actually thought. Your work has received positive feedbacks and was selected for a number of festivals, including and : how much importance interview
Women Cinemakers interview has for you that you receive in the festival circuit? And how do you feel previewing a film before an audience? Screening Ambience at international film festivals is an invaluable opportunity for me to communicate with others. Even though we’ve never met before, a film makes us connect to each other and talk about what we saw and felt in the film. For instance, Ambience makes me communicate with others about human’s emotions, whereas few people are willing to discuss it if I just grab one of my acquaintances and try to talk about it out of the blue since it is hidden and difficult to express. I believe a story that each film has is so powerful that it can naturally open up conversations among strangers about any subject around the world. I especially think that a film festival is a bridge for connecting passionate filmmakers with an audience to exchange their thoughts. Even when I cannot attend the festival, the conversation among the audience after the screening would be valuable and may have a significant influence on each other. Before leaving this conversation we want to catch this occasion to ask you to express your view on the future of women in cinema. For more than half a century women have been from getting behind the camera, however in the last decades there are signs that something is changing. What's your view on ? I have dived into filmmaking since 2014. Comparing these days’ filmmaking sets to those at that time, there appears to be a significant change in women’s roles. First, the number of women
Women Cinemakers
A still from Women Cinemakers
Women Cinemakers interview An interview by Francis L. Quettier and Dora S. Tennant [email protected] directors and producers rapidly increased. It was not difficult to find women filmmakers in the independent film market in New York when I studied there, but the ratio of women filmmakers in Korea was quite low at that time. Four years later, I came back to Korea and participated in several independent film productions as a crew. At some sets, women took up the majority. The number of women directors’ features that won a fund/support from the national agency is also increasing rapidly. I expect that in the near future, the commercial film set would also end distinguishing men and women, and allow talented individuals to really collaborate regardless of their gender, race, etc. Thanks a lot for your time and for sharing your thoughts, Ji Hyun. Finally, would you like to tell us readers something about your future projects? How do you see your work evolving? After Ambience, I directed two more shorts, Tess and Helen. All the three shorts have been invited to and screened at multiple international film festivals. For example, the latest short Helen will be world-premiered at the Melbourne International Film Festival this August. I am now working on a feature script with a female writer, Julia Yu, based on the last two shorts. In addition, I am participating in several independent feature projects, including ROOM FOR DOUBT under pre-production with an Asian American director Will McCord. I believe that this project is one of the good productions where talented individuals collaborate regardless of their gender, race, etc.
Hello Lydia and welcome to : to start this interview we would ask you a couple of question about your background: you have a solid formal training and you graduated from the prestigious UCLA School of Theater, Film and Television, with a concentration in Cinematography: how did this experience direct An interview by Francis L. Quettier and Dora S. Tennant [email protected] the trajectory of your artistic research? Moreover, could you tell us your biggest influences and how did they affect your filmmaking style? Thank you. I really enjoyed UCLA’s program. It was an inspiring time. We had great faculty, a vibrant curriculum, and all of my classmates were weird and wonderful. It was also a humbling time. I learned how much calculation, heavy lifting, and patience goes into the craft of cinematography. Those two years were quite an expansion. Lydia Janbay Women Cinemakers meets Lives and works in Los Angeles, CA, USA Ambitiously constructed and marked out with refined cinematography, What You Done is a captivating short film by Los Angeles based director Lydia Janbay: walking the viewers through an insightful inquiry into female identity, this elegant film offers an emotionally charged visual experience, inviting the viewers to heightened and multilayered visual experience: we are particularly pleased to introduce our readers to Janbay's captivating and multifaceted artistic production.
Women Cinemakers We worked with light in terms of color, temperature, shape, texture, and movement. It’s really another language. Now, when I plan a visual project, I can articulate the ideas with more precision. My biggest influences span across media, including: Claire Denis - Her work is incredible, especially in the edits. She brings a subtle physical awareness to the screen. Her film Beau Travail is like a ballet of the male body. You learn to really see the human body: how it moves and rests, how it resists tension or releases it, how it carries aggression and desire. This interplay of energies influenced my editing style. David Lynch – What can I say? His command of conscious experience through sound design. His complete dedication to mood and abstraction. He’s my favorite. That “In Dreams” scene in Blue Velvet makes me sob every time. Kubrick – All filmmakers are indebted to him somehow. The intentionality of his work can be frightening. And on top of that, I find him hilarious. Just look at how many times he includes something grotesque, whether it’s a line of dialogue or a piece of furniture. I love him, I definitely would’ve tried to marry him. The photographer Alexa King – I’m a big fan of her work. She has these sexy, cinematic snapshots of women. Her love just comes through. It really interview
Women Cinemakers
Women Cinemakers