Fusion Film Festival

Celebrating women in TV, Film & New Media

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Rachel Morrison: Oscars-Bound for Mudbound

Rachel Morrison: Oscars-Bound for Mudbound

Emma Levine, Editorial Staff Writer

For the first time in the Oscars’ 90 years, a female cinematographer’s work behind the camera is in the spotlight. In an awards season focused on equality and fair treatment in the entertainment industry, Rachel Morrison’s Oscar nomination for her work on director Dee Rees’s Mudbound stands out: she is the first woman ever nominated for Best Cinematography.

In the context of historical gender inequality in the field of cinematography, Morrison’s nomination is even more commendable. In 2016, women made up only five percent of cinematographers in the top 250 domestic-grossing films. The President of the American Society of Cinematographers, Kees Van Oostrum, has recognized the fact that “There was a built-in idea historically and culturally that women were not cinematographers. That was a man’s job.”

In contrast to this male-centric standard, Morrison has identified an ideal future of gender inclusivity in cinematography. “Part of the problem is that we’re always categorized as female DPs. It would be so nice to get to a point where when you say ‘DP’ it’s like ‘doctor’ or ‘teacher’ and you think of either gender. But because we are an anomaly there’s a tendency to create a sub-category.”

Morrison’s work on films such as Mudbound, Black Panther, Fruitvale Station, and Dope actively pushes against the idea that female cinematography should only be a sub-category or that cinematography is a male sphere. As the cinematographer for Mudbound, Morrison faced and overcame a wide variety of challenges, such as a short shooting schedule and difficulties related to weather and location, not to mention combating large amounts of mud.

The quality and impressive scope of her work on Mudbound prepared her for the challenges of being the cinematographer on the Marvel blockbuster Black Panther (her second collaboration with Ryan Coogler after working with him on Fruitvale Station in 2013). Drawing upon research and her own experiences, Morrison advocated for crisp, vibrantly colored shots to amplify the story.

As a Film and TV graduate from NYU’s Tisch School of the Arts, Morrison had few female cinematographers to look up to when she was in school. “For the better part of fifteen years, there were no new women in the field.”

Yet she is also encouraged by an increase in the numbers for the next generation of filmmakers – and she thinks it’s about time. Only through representation and increased visibility will aspiring female filmmakers feel hopeful about succeeding in their future careers.

For Morrison, her nomination for Mudbound was a dream come true, both for her own professional goals and for the careers of other female cinematographers. “I really hope that it opens the door for more women to believe that they can do it and follow their dreams and become cinematographers. I think that once you see 50% of us [in the industry], you’ll see a lot more nominations this time of year.”

Morrison’s success and newfound visibility embodies the motto of the Geena Davis Institute of Gender in Media: “If she can see it, she can be it.” Morrison and other female cinematographers are paving the way for aspiring female filmmakers to share their unique perspectives with the world.

Why Reese Witherspoon’s Glamour speech should inspire us all

Why Reese Witherspoon’s Glamour speech should inspire us all

by Madi Mitts, Editorial Staff Writer

Reese Witherspoon’s Glamour 2015 Women of the Year Awards speech has once again taken the internet by storm.  Its resurfacing is symbolic of the growing desire to properly represent women in film.  The multiple tenets that Reese presents are vital in continuing the progress of women in this competitive industry, as well as the cultivation of new, young, and female talent.

She begins by noting how often in scripts she reads the line “What do we do now?”, and how this undermines women by showcasing them as particularly useless and merely there to push the plot further for the male character.  In reality, no woman in any crisis situation “would have absolutely no idea what to do.”

She, along with plenty of other women in film, was perturbed by this misrepresentation of the complexity of women.  After long attempts to get the industry’s attention on the subject of equal representation, she discovered that approach’s futility.  Inspired by her mother, who said: “If you want something done honey, do it yourself,” she, along with her producer partner, Bruna Papandrea, began Pacific Standard Films with the mission of “creating opportunities for women in front of and behind the camera” (Hollywood Reporter).  Reese and Bruna’s initiative illuminates how proving yourself through action is more productive and promotive of success than waiting for others to finally listen.  If you have talent, a great story, and something to say, that will resonate with audiences regardless of gender, and eventually garner the attention of those who were once dismissive.

Building the company did not come easy for her and came with many risks.  People in the industry were telling her that there was no market for female-led films and that her company would go under after a couple years. However, even after being warned that spending her own money to get the company going was a poor decision, she was resolute to do it anyways.  Instead of listening to the nay-sayers and losing sight of the company’s mission, she chose to believe in what she was promoting and pushed forward despite the cost.  However, this decision was not without good reason.  Women driven films have worked in the past and will continue to do so in the future.  

The same year that Pacific Standard Films was formed, The Hunger Games, a film whose leading lady is strong, decisive, and anything but the dingy, incompetent characters Reese had previously underlined, was dominating the box office.  So, the investment entailed risk but was definitely worthwhile as it had already been proven that there was a large and profitable market for female-driven material, even long before The Hunger Games.  

Reese’s decision proves to young and upcoming women filmmakers that despite what people may say, there is a strong market for what they are producing.  Reese even encouragingly asked, “Wouldn’t it feel really good to prove them all wrong?”

Reese also talked about how she was an avid reader, and how she and her partner would tear through manuscripts, searching for cinematic gold.  Due to her and her partner’s ferocity, they were able to acquire, in the first year, two manuscripts of future bestselling novels, Wild and Gone Girl.  These would soon be award-winning and critically acclaimed films.  This type of intellectual curiosity is important to note regardless of where you may fall in the entertainment industry.  Curiosity is the one skill that we can all practice every moment of every day that will inform and better our future storytelling. Absorbing knowledge and inspiration across various mediums allow us to understand different perspectives and people, which is pivotal in making important and meaningful films.

Reese finished her speech noting how the misrepresentation of women in film is a window to the misrepresentation of women in industries across fields.  Still, women in male-dominated fields are not receiving the support and recognition they deserve.  In a New York Times article, Susan Chira interviewed multiple successful businesswomen, only to illuminate the disappointing truth that women who have dedicated years to their companies are still unable to become its CEOs.  A Georgetown University study showed how women are still feeling a lack of “fit” in STEM-related careers, enough to switch out completely.  In a 2016 TedTalk by Naomi McDougall-Jones, she noted that “studies show that the movies you watch don’t just affect your hobbies, they affect your career choices, your emotions, your sense of identity, your relationships, your mental health, even your marital status.” By encouraging women to write, produce, direct, and work in positions of power within the industry, despite the fear of failure, inadequacy, and discrimination, we are bound to see a change in not only the films we see on screen, but also a change in how women are viewed in our society, within other industries, and in how they view themselves.

Eleven, Max, and the Smurfette Principle

Eleven, Max, and the Smurfette Principle

Camila Grimaldi, Editorial Staff Writer

[SPOILER WARNING for Stranger Things Season 2]

Earlier this year, I found out that Stranger Things would welcome a new young female cast member in Season 2 and got even more excited for the return of this beloved show. The thought of another strong role model for young girls to dress up as on Halloween was exhilarating. After all, spiking Eggo Sales are evidence enough of the influence a strong female character can have on a show’s fanbase. When Season 2 finally came out, I was not disappointed. Max was cool. She made me want to take up skating and dye my hair red. And then, finally, the moment came for Eleven (the role model I wish I had in middle school) and Max (the person I wish I had been in middle school) to meet. I was thrilled at the prospect, despite some signs of tension that had been laced throughout the previous episodes. I have always been an optimist. The moment neared and my heart rate increased. These girls will be friends! They will rule the world! They have both been hurt by abusive men and must get their vengeance, together!

Not only were Eleven and Max established as rivals, they literally interacted once in the whole show, and even that was one-sided and full of resentment. My chance for authentic female friendship, forged in the fires of feminism, was gone. Deeply bothered by this narrative choice that was causing unrest in a deeper part of my creative conscious, I pushed the thought to the back of my mind until I came across this (http://www.indiewire.com/2017/10/stranger-things-sexist-eleven-max-season-3-smurfette-1201892995/) Indiewire article by Liz Shannon Miller that outlined exactly what I had felt was wrong with Season 2 and its handling of Eleven and Max. Truthfully, my discontent had never been about this specific show’s poor handling of two female characters. Instead, my frustration had stemmed from the fact that I had seen this before, and too many times.

The Smurfette Principle, first coined by Katha Pollitt in her article for the New York Times, is the idea that most fictional works focus on men, and there is only ever one female character that exists in relation to the male characters. This character’s identity is usually rooted in, or is solely comprised of, the fact that she is the “girl among boys.” There are some major stereotypes associated with this role. For one, this character is often shown as a tomboy. Her sense of humor mirrors that of the male characters, whilst drawing attention to the fact that such behavior makes her different from “other girls.” Most disturbingly, the very presence of the sole female character must be justified through her relationship to another male character in the narrative. Most commonly, she is the love interest of a male protagonist. Other times, she is the blood relative of a male character, and thus brought into the narrative that way.

I could give a million examples of female characters that fit into this principle, but maybe the most well known are seen in: TV shows like Seinfeld (Elaine), It’s Always Sunny in Philadelphia (Dee), Silicon Valley (Monica); in most Marvel movies, Star Wars (Princess Leia); and in books like It (Beverly Marsh) and Ender’s Game (Petra) … the list goes on and on. I love every single character mentioned in that list, and yet, they propagate a major issue of female representation. And though some of these stories are self-aware about the lack of female characters, it is still shocking to see exactly how little demonstrations there are of female friendship in any narrative with a male protagonist.

Obviously, there are exceptions, as there are for every trope. The visibility of female writers and directors has increased in the last few months, and female-led movies have also surged, though we still have far to go when it comes to presenting diversity in these roles. Most of the characters I have mentioned throughout this piece are strong and multi-dimensional. However, most of their individuality comes from the fact that they are women. Little complexity is given to these characters apart from the fact that they are women in a man’s world. Eleven, despite all her awe-inspiring super powers and killer dialogue, is simplified significantly in the second season. She becomes jealous when seeing Mike with another girl, consolidating her role as his love interest. Moreover, her lack of interaction with Mike transforms her into more of an abstract idea than a real character. The mention of her name inspires Mike to be brave and undergo a dynamic change. This narrative responsibility of motivating  the male character falls on the female character far too often. Women exist in relation to the male experience. Although the Duffer Brothers worked hard to have Eleven go on her own journey in Season 2, the predictably disappointing conflict between her and Max only reasserts the fact that both the writers and the audience do not leave space for the coexistence and collaboration of two amazing female characters. I, for one, only pray that Season 3 will bring us the Max/Eleven friendship we deserve, and that they can rise above to have their own individual story arcs, separate from the dominantly male cast that surrounds them. Come on Duffer Brothers. It’s your move.  

Change

Change

By Sophie Ewh

I fully realized the power of film the first time I watched Blackfish. I was just a baby Floridian who had grown up going to Seaworld every week, spending hours sitting at the tank watching Tilikum sulk in the corner of the tank. I loved it because my family loved it, and because they gave me pudding in a little whale cup. To watch Blackfish would have been to sin in my family. But it was exactly that rush of taboo-infused adrenaline that pushed me to finally watch it. I made sure that my mom was at work, closed all the blinds, and logged onto a secret Netflix account. My heart was pounding when I first pressed play and I told myself that I would only watch the first ten minutes of it. But as the last scene of the documentary came to a close, I was a new woman. The film moved me to take action- I made my friends watch the it ad nauseum and I refused to back to that place. Plus Seaworld agreed to stop trainer-whale physical interaction- Blackfish made real change in the real world, and every documentary can do the same.

Every documentary has the opportunity to inspire creation and progress through the hearts and minds of their audience. Documentaries have the power to change our opinion, open our eyes, and make us more empathetic human beings. They give us what we as a species has been searching for since Aristotle’s Poetics- the opportunity to see the world through another pair of eyes, to walk a mile in another pair of shoes. And it is our job as part of the human collective to tell the stories that influence us.  To tell the stories of the past that empower the present and enlighten the future.

It is exactly that assertion which makes me believe that you must attend “Monkey Business- A Master Class in How to Make and Fund a Hit Doc” on Friday, December 1st at 721 Broadway Room 006. The Master Class will be led by the creators of Monkey Business: The Adventures of Curious George’s Creators, which is a documentary that follows the lives of the Reys, the creators of the quizzical monkey, through their trials and tribulations as two immigrant refugees in search of the American Dream. In the words of the director, Ema Ryan Yamazaki,  “At a pertinent time to highlight the work of two Americans who were once refugees and immigrants, we must turn to the Reys’ extraordinary story as an example of a triumph in partnership, creativity, and above all, resilience.” The class will cover how the project found success, from research to distribution. It will help you build a platform from which you can create real change. Find what it is you care about, and share it with the world- consider the power of a compelling story in the hands of the people.

Submit Your Passion Projects!

By Madison Raye Mitts

Fusion is happy to announce that it will be accepting submissions for this years festival beginning October 26th.  Apply to Fusion to share your unique experience!  Submitters last year had the chance to win a wide-variety awards, in categories, including Feature Screenplay, Sight & Sound, Web-Series, Docs-in-the-Works and many more.

Since Fusion’s inception, it has been a pioneer for encouraging women in the entertainment industry to follow their passions.  Its dedication to inspiring and normalizing gender collaboration has brought in so much talent from students and professionals alike who believe in its powerful message.  The opportunities that Fusion presents to upcoming filmmakers is unbelievable, from the myriad of panels, and the ability to network and glean insight from industry professionals.  The festival is also a chance to showcase their work amongst other talented artists.  The festival is truly an opportunity to gain feedback on one’s projects, learn from others, and build new skill sets. In fact, Giuliana Monteiro Pinheiro, who was awarded ‘Docs-in-the-Works’ this past festival for her film, Bento, highlighted how she felt incredibly fortunate to show her film and receive great feedback during the editing stage.

Furthermore, and most importantly, Fusion builds a community within an industry that is not only incredibly competitive, but relies on collaboration, making true connections, and encouraging others.  Through these invaluable connections, more and more women are feeling confident in their voices as filmmakers.  Previous ‘Rising Star’ winner, Ewruakua Dawson-Amoah, stated that, “Knowing that there was a group on campus of brilliant female minds and people empowering women like me in the entertainment field gave me confidence and drive.”

By feeling less alone, other women can become more empowered to follow their dreams and tell stories that will enlighten others of different perspectives and experiences.

In March of 2017, Fusion hosted its 15th Annual Festival, a testament to how dedicated its members are to making a difference in the world of entertainment for women.  Especially in the light of recent events, female filmmakers are needed more than ever. Through the continued participation of submitters and volunteers alike, Fusion will continue to promote the excellency of some of the best up-and-coming filmmakers.

Fawzia Mirza’s Triple-Threat “Signature Move”

By Emma Levine, Editorial Staff Writer

Writer, actress, and producer Fawzia Mirza is a triple-threat force to be reckoned with. She has worked in theater, film, and television; she aims to use storytelling, performance, and comedy to break down identity stereotypes. Mirza identifies as a “lesbian, Muslim, Pakistani, actor, activist, writer, producer, lawyer, [and] creature of passion,” Mirza often focuses her projects on LGBTQ issues, women, and stories of people of color.

She co-wrote, produced, and starred in her upcoming film Signature Move, which has gained traction on the festival circuit. It centers on a Muslim Pakistani lesbian who falls in love with a Mexican woman and tries to find her identity through love and professional wrestling. The film is inspired by Mirza’s own life experiences and explores the ways in which people can connect across cultures. Mirza explained: “Part of my job is connecting seemingly different communities together through art and stories.”

Mirza said that she feels responsible to “bring in authentic voices” through Signature Move and tell a different, lesser known story about the city of Chicago: “When people tell stories about Chicago, they talk about jazz, shootings, or mob life, but they don’t talk about how Chicago has one of the country’s largest populations of South Asian and Mexican people.”

Mirza has effectively combined entertainment and political activism on numerous occasions. She got her start in the theater world at Catharsis Productions, which produced her one-woman show called Me, My Mom and Sharmila. The piece tells the story of Mirza’s relationship with her mother through a shared love for actor Sharmila Tagore, and it was subsequently produced at the International Theatre Festival and Steppenwolf’s 1700 Theatre.

Mirza is also known for her web series following the adventures of Kameron Kardashian, the fictional lesbian sister of the Kardashian family. The series was named Project of The Week by Indiewire and has been applauded for its representation of LGBTQ characters. Mirza also appeared in Her Story, which is a six-part series on the lives of trans and queer women. In her political mockumentary The Muslim Trump, Mirza also recently created the character of Ayesha Ali Trump, who is Donald Trump’s fictional, illegitimate Muslim daughter. According to Jezebel, the “darkly satirical” piece “delivers an unconventional study on intersectionality, multiculturalism, and what it means to be American – which is something we desperately need now, more than ever.”

Through all of her work, Mirza is committed to dispelling the myth of the “model minority.” Her work humanizes people and breaks down stereotypes regarding race, religion, gender, and identity, refusing to create “safe” minority characters created to cater to the majority. Mirza believes that “all of us – whatever kind of minority or category we fit into or identify with – we are all flawed and we’re all just human beings… I just want to be able to portray people and those people end up being whatever identity they are.”

Look for Mirza’s stereotype-busting, humanizing feature film Signature Move, which hit theaters on October 13th. To hear more about the co-writer, producer, and star of the film, attend Fusion’s screening of Signature Move on Thursday, October 26th and stick around for a conversation with Mirza herself!

LGBTQ Women to Watch

By Sophie Ewh.

Do you ever watch the news and cry at the political state of the country, and frankly the entire world? Do you ever watch the news through Snapchat just so that you can replace the current president’s face with Hillary Clinton’s? Do you ever wonder why RuPaul has won two Emmy’s, but still has yet to be made Glamazon ruler of the universe? Then you should follow these fabulously queer women that bring every faction of humanity to the limelight.

Television

Cameron Esposito and Rhea Butcher: You may know this dynamic duo from their stand-up tour, “Back to Back,” or from their myriad of appearances in Adam Ruins Everything, Comedy Bang! Bang!, and Adventure Time. But their most comprehensive and underappreciated work is their semi-autobiographical TV show Take My Wife. This prototypical twenty-one minute sitcom is far from typical; it features two gay women, both trying to make it in the comedy world while paving their way through the toils of marriage, homophobia, and misogyny. Aside from having some of the best dry and poignant humor on television, the show brings together a diverse crew, whose varying perspectives flow into every line and camera angle. With an all-female writers’ room, 43% writers of color, mostly female production heads, and music from eight different queer musicians, the show is truly diverse and representative.

You can watch the first season of Take My Wife on Seeso; however, as of Seeso’s announcement to shut down, the show is searching for a home. To support this endeavor, and hopefully view the already-made Season 2, you can visit Twitter and voice support for Esposito and Butcher, or you can write to VRV and Netflix, asking them to save the show that celebrates diversity.

Music

St. Vincent: Otherwise known as Annie Clark, St. Vincent is an alternative, electronic rock artist, whose music has empowered women of all types since 2003. Her first album, Marry Me, celebrates the darkness of everyday life with such songs as “The Apocalypse Song,” and nods its head to gay culture with the song, “Paris is Burning.” Her classic mix of orchestral instruments with a heavy rock tone is enough to catch any human’s attention, but her open woman-ness and sexuality will leave women embroidered with strength and hope. You can listen to her latest album, Masseduction, as well as her past albums, on iTunes and Google Play. Be sure to catch Cara Delevingne’s appearance on the cheerfully dystopian song, “Pills.”

Film

Fawzia Mirza: This up-and-coming writer/actor has been the star of the 2017 film festival circuit and the bell of the gay community due to her latest film, Signature Move. Mirza plays a closeted lesbian wrestler named Zaynab, who begins to fall in love with a free-spirited girl named Alma. The movie’s title is a double entendre for a wrestling move and a romantic pass; it weaves the stories of Zaynab’s love for Alma, coming to terms with her caring-yet-heteronormative mother, and preparing for a wrestling tournament, into one brightly colored and beautifully shot package.

You can watch Signature Move at a Fusion-run screening on October 26th from 6:30-8:30 p.m. at the Cantor Film Center. The event will be filled with women of various backgrounds, talents, and personalities, so join us to make new friends and watch a wonderfully progressive film. After the screening, Fawzia Mirza will be there to answer questions and discuss the film.

From “White Trash” to “Signature Move”: Jennifer Reeder

By Guru Ramanathant, Editorial Staff Writer

Jennifer Reeder’s new romantic comedy-drama “Signature Move” is hitting theaters soon, having made the festival rounds for about a year. The film is bolstered by a script co-written by star Fawzia Mirza and Lisa Donato. “Signature Move” is considerably mainstream compared to Reeder’s previous experimental short films, “A Million Miles Away” (2014) and “Blood Below the Skin” (2015). She is known for exploring the lives of adolescent girls and their use of music and fashion to express themselves. However, “Signature Move” presented an interesting challenge for Reeder who said in an interview with the Chicago Sun Times, “not only was this the first film I’ve directed that I didn’t write, but it’s a story about women who do not mirror my own life experiences.”

Reeder completed her undergraduate degree at Ohio State University and later went to the School of the Art Institute of Chicago. In Chicago, she was inspired to make her breakthrough project “White Trash Girl.” The wild eight-minute short is about an infant child of incest who is flushed down a toilet and has to grow up in the sewers. She becomes a superhero later in her life and uses her bodily fluids to kill her enemies. Reeder received critical acclaim and an invitation from the Whitney Museum in New York. In a 2003 interview with the Chicago Tribune, Reeder reflected on the film saying, “I just felt like I was raging… [it] felt forthright, righteous, totally powerful.”

Post-“White Trash Girl” Reeder became committed to creating art that was still inciting but more accessible to mass audiences. Her feature film debut, “Tiny Plastic Rainbow,” focused on alienated urban characters suffering from a tragedy. When speaking of the evolution of Reeder’s work, Julia Friedman of the West Loop gallery said in 2003: “Jennifer’s earlier work was more political in nature and more aggressive in tone… Her later work has become more universal and ambiguous.”

For the past decade Reeder has continued to make experimental shorts revolving around adolescent female characters and dangerous parent figures. Dissatisfied with the contemporary offerings for young audiences, Reeder has been intent on crafting coming-of-age stories, believing teenage girls, especially, offer rich narrative opportunities. In an interview with National Post Reeder explained, “I can be a feminist filmmaker […] but I don’t have to make films that have likeable female protagonists… I can still portray real female states and experiences.” Her unconventional narratives have paved the way for selections to prestige film festivals including Sundance Film Festival and the Berlin Film Festival. Her 2015 film, “Blood Below the Skin”, won the Grand Jury Prize at the Chicago Underground Film Festival.

Reeder also founded a social justice initiative called Tracers Book Club, which was featured at the Museum of Contemporary Art in Chicago. Tracers’ aim is to be an inclusive program attempting to give students a broader history and viewpoint of feminism. The name “Tracer” originated from one of Reeder’s scripts but has found a new meaning in “tracing out” sexism.

The writer/director is currently developing a teenage feature length drama set in rural Kentucky titled “As With Knives and Skin.” Reeder is also an educator, serving as associate professor of Moving Image and is the current head of the School of Art and Art History at University of Illinois at Chicago.

Fusion Alum in Women-Led Theatre Production

Electric violin resonates and swords clash in The Classical Theatre of Harlem’s dazzling rendition of The Three Musketeers. The show is the New York premiere of the adaptation by Catherine Bush which follows the story of D’Artagnan, a woman fighting her way through Paris to achieve her dream of becoming a musketeer. Fusion’s own Piera Van de Wiel, a past co-director, co-head of the Alumni Relations department, and recent Tisch grad, takes the stage in this amazing production, and she spoke with us about her experience.

Talk about your involvement with the show, from your first audition to where you are now. What drew you to the production?

I auditioned back in April as I was preparing for my final semester at the Tisch School of the Arts. As soon as I saw that it was The Three Musketeers, I thought to myself, “YES! We need this production – we need something to bring the community together through love, persistence, and fighting for what’s right!”

What have you enjoyed most about bringing your character to life?

I was lucky enough to be cast as Milady De Winter, lead antagonist in the show. Bringing her to life has been exhilarating! She is cunning, devious, powerful, and pure evil; however, she does everything with an elegant grace and charm, which makes her all the more villainous! You find that she is always one step ahead, and ready to fight for her survival – no matter what situation you put her in.  I find that empowering.

What was the greatest challenge you faced in working on this production? How did you overcome it?

This is my first time performing in an outdoor space, which means that sometimes the elements can surprise you! Questions arise: can we use mics, music? But what I have learned is that you can use everything to your advantage! During the second week of our run, I was on stage and the heavens suddenly opened, and although the stage is covered, the wind and rain were beating against my face – but I LOVED IT! I used it to fuel my character and her actions, and it gave me that extra drive!

Talk about your experience working on the team for this production. It’s so exciting that the director, playwright, choreographer, stage manager, costume designer, prop designer, and lighting designer are all women!

Yes, it’s brilliant! The creative and management team are predominantly women, and it’s been so exciting to see their visions come to life. Whether it was the words on the page by the playwright Catherine Bush, the direction by Jenny Bennett, the beautiful choreography by Tiffany Rea-Fisher, the productive skills of Jessica Pecharsky, or the lavish stunning costumes by Rachel Dozier-Ezell, all of these women have worked to put together a fabulous production. It’s so important for women to be represented behind-the-scenes as well as on stage and on camera.

3M_JillJones189(Photo Credits to Jill Jones) 

How has what you learned as part of the Fusion team helped you so far in your post-grad life?

Fusion taught me how to be part of a team, that all members and departments work together, and that every part is integral to achieving the best outcome! My time as co-director with Gabriela Alcalde and Leticia Bianco showed me the strength of leadership, fellowship, and partnership, and with vision and mission we can promote and celebrate women in the arts!

What’s next on the horizon for you, in the near future and long-term?

I’m an actor, but I’m also a singer-songwriter, and I’m currently in production for my first album with a renowned Canadian producer and composer. In the coming months, we will work on developing, recording, and mastering my records. Come November, I will be managing a “Women and Film Event” with the Princess Grace Foundation-USA in Monaco, so I can’t wait for that! I’m also excited to announce that I am now a contributor for Like A Boss Girls, a female-driven digital platform to empower women, where I will be posting editorials and videos twice a month!

I know you just graduated less than three months ago, but it’s pretty fantastic to book a job doing what you love right out of school. Any advice or words of encouragement to people looking to do the same after graduation?

I feel so fortunate and lucky that I booked a job right out of college. My advice would be to go looking for the opportunities, don’t wait until they come to you! And something that is very important to me is networking and building relationships with people. If you put yourself out there, you will be one step closer to getting where you want to be.

And lastly, anything you’d like to say to this year’s Fusion Film Festival team as we prepare to kick-off the 2017-2018 season?

You have the power to make change. This year is a new year. Bring yourselves and your ideas and push, inspire, and create opportunities for women in film, TV, and new media! And remember, you will always have the support of the past leaders! I will forever be an ally to Fusion, and I’m so grateful for everything it taught me.

You can see The Three Musketeers at the Richard Rogers Ampitheatre in Marcus Garvey Park, Harlem every night until July 30th. Admission is free. Showtime is 8:30pm on Fridays, 8:00pm all other days. Check out the following link to find out more: http://www.cthnyc.org/the-three-musketeers/

Reviews: The New York Times, TimeOut, and Stage Buddy.

Interview: Tove Lo on “Fairy Dust”

By Erica Snyder, Fusion Editorial Department.

In 1981, MTV made history when they debuted their network and started broadcasting music videos, the first being The Buggles “Video Killed the Radio Star.” Since then, society expects artists to drop a music video after they release a hit song. Recently though, music videos have gone through a transformation of their own. Many artists now make films, or “visual albums,” with their releases instead of individual music videos. Think, Beyonce’s “Lemonade” (directed by Fusion’s Woman of the Year Melina Matsoukas), Frank Ocean’s “Blonde,” and Tove Lo’s “Fairy Dust.”

Tove Lo’s visual album focuses on the overlap between storytelling and music, with a splash of feminism thrown in as well. Ok, more than a splash, but who’s complaining there? Tove, like many other musicians, uses her visual album to complement her music. “For me, ‘Fairy Dust’ is about the, sort of, bittersweet escape, when you’re on this constant chase for rushes. And the way that I wanted to portray that in the film was having someone play my…what’s usually seen as the self-destructive side,” Tove says. “It’s about the highs and lows and the need for them.”

In “Fairy Dust,” Tove’s “self-destructive” side is played by Lina Esco, another powerful feminist and founder of the Free the Nipple movement. Tove explains that, when writing Lina’s monologue, she was not thinking about whether anything was “wrong” to say. She wrote without thinking what she was “supposed” to do.

With her last album, Tove did not release a film as she did this year with Lady Wood. But as an artist, releasing a film with this album was very important to her. “For me at least, it’s very important to feel like it’s not just a bunch of songs thrown together just to have an album. I want it to feel like there is a journey, there is a story. It is one body of work.” Releasing films with albums serves as a way for musicians to express another layer of their art and bridge a connection between songs, something that can’t be done by putting one or two in a self-created playlist. And actually, “Fairy Dust” is Tove’s first time screenwriting and acting. Which, yes, in case you haven’t watched the video already, she slayed both.

“There were a lot of firsts shooting this thing,” Tove says. “I started by just writing out the monologues, and then me and Tim [the director] went through song by song like, ok, how do we translate this song?” For example, Tove sings “Cool Girl” from a very sarcastic place, but she also wants to express that it’s a “power song” about “owning your emotions.” For Tim and Tove, the challenge was expressing both those perspectives in “Fairy Dust.”

Like many other female musicians, feminism plays a large role in both Tove’s music and her daily life. In fact, in “Fairy Dust,” Tove is seen masturbating at the end, which caused Youtube to temporarily take down the video. “Are we still here? Really? I thought we passed this like 20 years ago!” Tove says. “So I’ve definitely decided to be like, ‘Hey, I’m gonna do whatever I want with my body, and you can’t tell me what I can or can’t show and can or can’t do.’ It’s so funny when people are like ‘Oh, it’s so scandalous — she’s touching herself’[referring to the end of Tove’s video when she masturbates]. This is the least harmful thing you can do to yourself, like, you know what I mean?”

Yes Tove, we know exactly what you mean.