Q&A With Acting for Film Alum Dr. Ariel Orama López on Creating Short Film “2ḦOOM” During a Global Pandemic

Like many filmmakers in 2020, this year has proven to be an uncertain time for filmmaking, however, filmmakers like Dr. Ariel Orama López has shown that the COVID-19 has no intention of slowing down their creative process or pursuing a successful film festival run.

Dr. López was eligible for the 2020 Oscars with his previous film One and for his latest film for his latest latest film 2ḦOOM [Zoom] he has already begun to receive a steady amount of laurels. Filmed indoors and outdoors, under strict protection measures and with the integration of creative elements during the COVID-19 pandemic, the short film follows the vulnerability of human beings, patients at risk and themes of immortality and Dr. López enlists the help of Peruvian animator and cartoonist Jorge Cáceres and an Italian composer Daniele Carretta to create a project that represents the related topics that emerged after the pandemic. 

NYFA caught up with the Acting for Film alum to discuss his latest short film 2ḦOOM [Zoom] and creativity in the time of COVID-19. López’s responses have also been translated into Spanish by the alum for those who prefer to read his responses in Spanish. 

Film poster for ‘2ḦOOM’

New York Film Academy (NYFA): What has been your inspiration for creating your short film 2ḦOOM [Zoom] during this very uncertain time as a writer, director, and actor?

Dr. Ariel Orama López (AL): When the pandemic arrived, my intuitive mind thought of two things: first, that the vaccine or the ‘antidote’ against COVID-19 could be related to the structure that gives the dreaded virus the shape of a “crown.”  I shared with my loved ones, with evidence, right at the beginning of this global situation. Second, that HIV/AIDS could be understood, in another way, after studies and future findings on the relatively new condition, and vice versa. Considering my formal education in Science and Arts, I decided to create a short film that linked such elements with the unimaginable power of water and the mysteries of quantum physics: a story that alluded to the “shield” or “armour” of the coronavirus (even on an emotional level, as a metaphor) as well as the stigma of HIV. Today we are one voice, without races: a new universe of masked beings. And that is how my short film 2ḦOOM [zoom] was born.”

Cuando llegó la pandemia, mi mente intuitiva pensó en dos cosas: la primera, que la vacuna o el ‘antídoto’ contra Covid-19 podrían estar relacionados con la estructura que le otorga al temido virus la forma de ‘corona’. Lo compartí con mis seres queridos, con evidencia, justo al comienzo de esta situación global. En segundo lugar, que el VIH/SIDA podría entenderse, de otra manera, después de estudios y hallazgos futuros sobre la condición relativamente nueva, y viceversa. Al considerar mi educación formal en ciencias y artes, decidí crear un cortometraje que vinculase tales elementos con el poder inimaginable del agua y los misterios de la física cuántica: una historia que aludiese al ‘escudo’ -o ‘armadura’- del coronavirus (incluso a nivel emocional, como metáfora) así como al estigma del VIH. Hoy somos una sola voz, sin razas: un nuevo universo de seres enmascarados. Y así nació el cortometraje 2ḦOOM [Zoom].

In addition to animation, live action sequences are also present in ‘2ḦOOM’ 

NYFA: Are you submitting the film to any upcoming festivals

AL: The short film 2ḦOOM [Zoom] is already submitted into distinguished international festivals: we hope that it can be screened in various countries, just like my previous short film One, which screened at 40 festivals. The magic of 2ḦOOM lies in its hybrid of animation and live filmed scenes, which is why we bet that they will be very well received in various contexts. We are celebrating that we already received eight international laurels (Chile, UK, Estados Unidos (virtual limited projection), Los Angeles, India and Puerto Rico) and one international prize.

El cortometraje 2ḦOOM [zu:m] ya se encuentra sometido en distinguidos diversos festivales internacionales: esperamos que pueda ser proyectado en diversos países, tal como sucedió con mi cortometraje anterior ONE, proyectado en 40 festivales. La magia de 2ḦOOM [zu:m] radica en su combinación de animación con escenas filmadas, por lo cual, apostamos a que tendrá una gran acogida en diversos contextos. Estamos celebrando que ya recibimos ocho laureles internacionales (Chile, Reino Unido, Estados Unidos (proyección limitada virtual), Los Ángeles, India and Puerto Rico) y un premio internacional. 

Still from animation sequence in ‘2ḦOOM’

NYFA: What do you hope people relate to or discuss after watching your film?

AL: I hope that 2ḦOOM viewers do not lose sight of the challenges of making a short film in full confinement. Precisely, the short highlights the vicissitudes of two family members when faced with such circumstances, in addition to the COVID-19 factor. Along the way, we managed to create a story with substance and creativity, with wonderful elements that inspire our new society to evolve, beyond races or social distinctions: as one, powerful voice.

Anhelo que los espectadores 2ḦOOM [zu:m] no pierdan de perspectiva los retos que conlleva efectuar un cortometraje en pleno confinamiento: precisamente, el corto destaca las vicisitudes de dos miembros de la familia al encontrarse ante tales circunstancias, sumados al factor COVID-19. En el trayecto, logramos elaborar una historia con sustancia y dotada de creatividad, con elementos maravillosos que inspiran a nuestra nueva sociedad a evolucionar, más allá de razas o distinciones sociales, como una sola y poderosa voz.

NYFA: What were some of the challenges you faced when creating the film?

AL: Among the challenges faced, the distance factor was one of the most complex elements and, at the same time, the one that allowed us to use creativity the most. Recreating a Zoom conversation with visual and sound quality, allowed us to think of innovative strategies to make it feel like a Zoom© call, but from a filmmaking perspective. Thanks to God and the commendable work of all the participants of the project (which includes talent from Peru, Italy, Argentina, Mexico, Peru, Colombia, USA, Venezuela and Chile, together with Puerto Rico), we were able to create a product of which we are proud and one that I am sure it will be kept in the hearts of the spectators.

Dentro de los retos confrontados, el factor distancia fue uno de los elementos de mayor complejidad y, a la vez, el que más nos permitió utilizar la creatividad. El recrear una conversación de zoom© con calidad visual y sonora, nos permitió pensar en estrategias innovadoras para que se sintiera como Zoom, pero desde una mirada fílmica. Gracias a Dios y al trabajo encomiable de todos los participantes del proyecto (que incluye talento de Perú, Italia, Argentina, México, Perú Colombia, Estados Unidos, Venezuela y Chile, sumado a Puerto Rico), pudimos gestar un producto del cual nos sentimos orgulloso y que, estoy seguro, quedará guardado en los corazones de los espectadores.

Mask on for Dr. López behind the scenes filming on location in Puerto Rico

NYFA: When will the film be available for the public to view?

AL: The film will be competing for two years in a cycle of international festivals and we are in negotiation for a commercial screening in the US. Recently, it was presented in the United Kingdom, the United States and Puerto Rico, virtually. Currently, it is presented at the Rincon International Film Festival (RIFF) from August 7 to September 6, 2020.

El filme estará por dos años compitiendo en ciclo de festivales internacionales y estamos en negociación para una proyección comercial en cine en USA. Recientemente, se presentó en Reino Unido, Estados Unidos y Puerto Rico, de forma virtual. Actualmente, se presenta en el Rincón International Film Festival (RIFF) del 7 de agosto al 6 de septiembre en 

New York Film Academy would like to congratulate Dr. Ariel Orama López on his recent success for his latest film and for sharing more on creating a film during the COVID-19 pandemic. NYFA encourages others to view the film when it becomes available to view outside the festival circuit. 

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UPDATE: September 14, 2020

“Our short film 2ḦOOM [zu:m] just received four nominations: two for Leading Actors (“Best Leading Actors” – Jonathan Cardenales & AG Orloz), one for Script Work (“Best Screenplay” – AG Orloz) and a fourth nomination laurel for Best Soundtrack (Danielle Carretta from Italy & AG Orloz)With all this, our short film on Covid-19 and HIV / AIDS reaches 19 international laurels, in just two months of international festivals. In other words, almost the trajectory of ONE -eligible to the Oscars 2020-, in two years. For our optimized version of the short film, we have included representative voices from Italy, Spain, Portugal, the United Kingdom and Brazil. Our eternal gratitude to them, as well as to the entire production team and the representative voices of Latin America (Chile, Mexico, Peru, Venezuela, Colombia, and Argentina) that make up this Film and Multimedia project. We continue to add cinematographic achievements for Puerto Rico, in times of transformation!”

DC’s FanDome Event of Blockbuster Reveals – The Batman, Wonder Woman 1984, and More

“United.”

Ben Afflecks’ Batman in the trailer for Justice League: The Snyder Cut uttered this word and it could not ring truer for the feeling fans have come away with DC’s FanDome event this past weekend. 

2020 has upended every single industry in the world and the film industry is no exception. Theaters shuttered, productions postponed and film releases delayed; some until next year. Most large scale live events have been canceled for the year as the whole world takes a mulligan and push plans for the following year hoping 2021 returns a bit more normalcy to live events however some have found innovative ways to bring large scale events to screens across the world such as DC’s FanDome streamed convention. 

This past weekend, DC put on a digital showcase of all the most exciting news and trailers of upcoming films and projects that is normally reserved for the largest comic book conventions of the year, usually the San Diego and New York Comic Con events. Accessible to all who registered online for free to the event, the streams began at 1pm ET showcasing panel after panel with a live performance by Daughtry and going off without a hitch. Each panel was different, big names and big reveals were had and the excitement for DC is at an all time high. 

Here were the biggest announcements of the day.

The Batman
Directed by Matt Reeves

We’re going to start with the hottest thing to come out of FanDome, Matt Reeves’ The Batman. Set to Nirvana’s “Something in The Way,” the trailer gives us our first real glimpse into the director’s vision for the world’s greatest detective’s new world. 

Robert Pattinson as Bruce Wayne/Batman in Matt Reeves’ ‘The Batman’

The new iteration of the Caped Crusader will not be an origin story per se but, as Reeves puts it. follow his “second year” of fighting crime. A gritty fusion of Zack Snyder’s hues with David Fincher’s melodramatic tones, we get our introduction to all that is expected from a new entry into the Batman franchise. Robert Pattinson in the suit, his portrayal as a young Bruce Wayne, quick shots of Zoë Kravitz as Catwoman, Colin Farrell as The Penguin, NYFA Filmmaking alum Paul Dano as The Riddler, and…the Batmobile. 

Fans are always craving to see the latest iteration of the iconic car and, whether you’re a fan of the new look or not, one thing is for sure, visceral fast paced action will be on display. And if you were wondering how the former Twilight star might fare in a fight, the clip of “Battinson” brutally taking down a thug should put the whole world on notice that he is up to the challenge of filling into the cowl of his predecessors. 

Zack Snyder’s Justice League
Directed by Zack Snyder

After years of social media fervor, hashtags, emails, petitions and practical groveling from fans around the world, Warner Bros. and Zack Snyder have finally answered those prayers. 

Zack Snyder, who after the tragic death of his daughter, had to leave the project during principle photography on Justice League has finally come back to finish his director’s cut. An ask that fans have been begging for after the debacle that-was the official release helmed by Joss Whedon. 

Film poster for Zack Snyder’s ‘Justice League’

It is only fitting that Leonard Cohen’s “Hallelujah” was the track chosen for the most anticipated trailer for a movie that was released three years ago as fans all over the world awaited for the second coming of the film they so desperately wanted. During the panel, Snyder took fan questions from around the world that were asked by most of the Justice League cast members through pre recorded videos before releasing the trailer to the world that gave a glimpse into what his vision for the film was supposed to be. 

At one point, when asked about Ray Fisher’s character Cyborg, he noted that his role will be one of the most expanded parts of the film as he is “the heart of the movie.” The film will be released as a 4 part series broken up into hour long episodes on HBO’s Max service, however no release date was given. 

https://www.youtube.com/watch?v=z6512XKKNkU

Wonder Woman 1984
Directed by Patty Jenkins

Another exciting release was a more in depth trailer for the follow up to Patty Jenkins 2017 blockbuster Wonder Woman. The cast and crew spent time talking about the making of the film, the fans, and the relationships between the cast’s characters before revealing the trailer. 

Gal Gadot in ‘Wonder Woman 1984’ (Directed by Patty Jenkins)

In the trailer we got to see Kristen Wiig’s Barbara who seems to be the film antagonist, “The Cheetah,” after undertaking a transformation. In the bits we’ve seen from Wiig, it will be exciting to see what she brings to arguably the biggest role of her life which is at the same time a departure from her usual comedic roles. Chris Pine will reprise his role as Steve Trevor while Pedro Pascal plays Max Lord. The film was slated for release on June 5, 2020, however due to the Coronavirus pandemic it was then delayed to August 15, 2020, which has now been pushed back to October 2, 2020.

It is clear that DC is capable of adapting to an ever changing landscape in film while battling their direct competitors in the Marvel Cinematic Universe, as well the COVID-109 global pandemic. While they have had some great products in Aquaman, Wonder Woman and the many Batman Franchises, they have sorely lacked in many other areas on all fronts whether it’d be the big screen or the little screen, and even in their source medium, the comic book industry. This event, however, the first of its kind, really has given us a recalibration, or a “righting the ship,” of the many issues facing the DC house and all of its properties over the last few years. It has shown us that when DC can take the time to be “united” that they can become an unstoppable force in cinema once again. 

Other panels appearing during the FanDome event:

  • Warner Bros. Games Montreal Announcement Gotham Knights
  • The Sandman Universe: Enter The Dreaming
  • Multiverse 101 panel
  • Introducing the Flash
  • Beyond Batman
  • The Suicide Squad
  • BAWSE Females of Color Within the DC Universe
  • Legacy of the Bat
  • Chris Daughtry Performance
  • The Joker: Put on a Happy Face
  • Jim Lee Portfolio Review
  • I’m Batman: The Voices Behind the Cowl
  • The Flash TV 
  • Black Adam
  • CNN Heroes: Real-Life Heroes in the Age of Coronavirus
  • Titans TV
  • Aquaman
  • “Ask Harley Quinn”
  • Wonder Woman 80th Celebration
  • SHAZAM!
  • Suicide Squad: Kill the Justice League Game 

Q&A With NYFA Filmmaking Alum Donald A. Eferere (A.K.A EAD, the Creator) on Filmmaking and Award-Winning Short Film “Dari Ji Mi”

New York Film Academy (NYFA) Filmmaking Conservatory alum Donald A. Eferere (a.k.a Ead, the Creator) has directed music videos and has collaborated with popular recording artists such as Falz the bad guy, Teni the Entertainer, Mark Bautista, Dj Neptune, Sean Tizzle, CDQ, Reekado Banks, Peruzzi, Mayorkun, Yonda, Highonfi, Jkinggz, Trepdee. As a Film Director, EAD has also experience success.

His more recent film, Dari Ji Mi, won the Best Short Film USA category at the Toronto International Nollywood Film Festival in Canada and was also an official selection for several festivals in the United States including the Capital City Black Film Festival, Rhode Island International Film Festival, Queen City Black Film Festival and many others. He is also currently in post-production for his upcoming Short Film Smith’s Way Out, which features Tony-nominated Actress Starletta Du Pois, along with a remake of the three little pigs and the big, bad wolf in a film called Reality.

New York Film Academy was able to catch up with EAD to discuss more about his award-winning short film, as well as his upcoming projects.

NYFA alum Donald A. Eferere (a.k.a Ead, the Creator)

New York Film Academy (NYFA): For those who may not know your background as a creative, can you share a bit more on how you became the creator you are today?

Donald A. Eferere (EAD): My name is Donald A. Eferere, popularly known as EAD for the music videos and content that I create.  I was born in Nigeria, but I am currently based in America;  I relocated to the United States shortly after completing my Bachelor’s degree to study filmmaking in 2016 at the New York Film Academy for eight weeks. That move completely change my mindset on how I viewed my art and the next steps that i needed to take. So I went back to my country to make music videos my main focus and because of my five year background in photography, it totally worked out. By 2019, I was 150 music videos deep and I  lost inspiration, so I decided to go back to the New York Film Academy for a year. That’s where my journey really began.

NYFA: Can you tell us about your film Dari Ji Mi?

EAD: Dari Ji Mi is a film where the lead character, Mr. Bankole, has taken the worst advice ever from his late wife’s sister, who advised himself to put a curse on his daughter in order to protect her from the alarming high rate of rape going on in the town. He succeeds in putting a curse on her and made his daughter, Ife, promise him that she’ll keep herself till marriage. This takes a terrible turn when her boyfriend Peter dies suddenly after having intimate relations with Ife for the first time.

Film poster for ‘Dari Ji Mi’

NYFA: What inspired you to make Dari Ji Mi?

EAD:  In Africa, kids have been brainwashed and put in certain situations that have damaged their lives one way or the other. Either it’s the profession that they have to choose or abstaining from sex till marriage. I really wanted to raise awareness to the parents who force their children to make certain decisions. The truth is that decisions really scar children and restricts their exposure level. I also intended for my film to send a message to the children, so they believe in themselves and discuss these things with their parents because they are the authors of their lives and their parents should just be guides. Dari Ji Mi has had great success on the festival circuit.

NYFA: What other projects are you working on or do you plan to work on?

EAD: I also have two short films currently in post-production; Smith’s Way Out, which features Tony-nominated actress Starletta DuPois and my remake of the three little pigs story called Reality.  I believe that the steps I’m taking can really aspire young creators out there. So I recently started my company “RDCYF BRAND” which means Respect D Creators Young Future, and I am slowly building the company way up to achieve the goals of creating a better life for our young creatives and brands back in Africa and abroad.

NYFA: What did you learn at NYFA that you applied directly to your work on Dari Ji Mi, or your work in general?

EAD: NYFA really helped with making me a better producer and gaining skills in team building and planning to make my projects better.

NYFA: What advice would you give to students just starting out at NYFA?

EAD: Take every class project seriously. Make use of the resources and get your reel up because you’ll need it when you leave NYFA. It’s a jungle in the outside world. Best of luck!

New York Film Academy would like to thank NYFA Filmmaking alum EAD, the creator for taking the time to share his inspiration and advice to incoming filmmakers and looks forward to seeing EAD make his way in more film festivals with his upcoming projects.

Q&A With MFA Filmmaking Alum and International Production Manager Valéria Costa

New York Film Academy Los Angeles alum Valéria Costa was born to be in the film industry. After graduating from NYFA’s MFA Filmmaking program, Costa went on to produce work for Netflix, Uber, TLC, NatGeo, Twitter and Spotify. She also began to divide her time between the U.S and her native country of Brazil as a Production Manager for Brazil Production Services

Costa has worked on multiple projects both in Brazil and in the United States including Netflix’s Hyperdrive and 90 Day Fiance: The Other Way. She also worked on the NYC unit for the Brazilian feature film Minha Vida em Marte and on the set of the shoot for the Get to Know Me music video for Brazil’s biggest popstar, Anitta.

Costa recently worked on the Brazil Unit for Netflix productions of Sergio and Street Food: Latin America. New York Film Academy recently spoke with the NYFA alum to discuss some behind the scenes insight on these recent projects, as well as Costa’s role as a Production Manager, who specializes in working with foreign productions. 

NYFA MFA Filmmaking alum Valéria Costa

New York Film Academy (NYFA): Can you tell us more about your background and how you got interested in filmmaking?

Valéria Costa (VC): I’m from São Paulo, Brazil and I’m 29 years old. While I was doing my Bachelor’s degree in Public Relations, I took acting classes and, once I finished my acting course, I took an internship in a theatre company. During my time there, I had the opportunity to learn about all the other components of a play that wasn’t the acting itself. As we went through rehearsals, I learned from the director of the company how to design and operate the stage lighting of the show and also followed her process in choosing and building the play’s score, costumes and make-up. All those processes ended up interesting me a lot more than what I originally intended to do there, which was to act. But, I knew that I didn’t want to be in the theatre world only, so I decided to start exploring and studying the universe behind the film and television cameras.

NYFA: That’s a really neat story of how sometimes you find what you enjoy when studying something else; it’s all about discovery! So how did you end up coming to NYFA? 

VC: After I finished a post graduation course for Cinema in Brazil, I felt the need to learn the practical side of filmmaking. And I’ve always wanted to study abroad and improve my English, so I decided to apply to the Masters in Filmmaking at NYFA and kill two birds with one stone. 

NYFA: Can you tell us more about your role as Production Manager with Brazil Production Services?

VC: At Brazil Production Services, we act in a very specific niche part of the film industry. I’m specialized in assisting American and other foreign companies that wish to shoot productions in Brazil, as well as Brazilian companies that wish to film productions in the U.S. Due to my experience in both markets, I’m able to understand my client’s expectations when they arrive in Brazil or when they plan to have a city in the US as a filming location. So, besides having the usual responsibilities of a Film Production Manager, such as building and managing the production budget, sourcing qualified local crew, overall costs negotiation, overseeing risk assessment and production insurance matters, managing the production’s legal paperwork, monitoring deadlines and the production schedule…I also advise my clients on the local filming requirements of the country that they are looking to film at and align their expectations based on the limitations that their chosen location imposes. 

Film poster for ‘Sergio’

NYFA: Can you go into more detail about your work in the Brazil unit for Netflix film Sergio?

VC: It was a great experience. We had several weeks of pre-production and the challenge to build a 100+ local Rio de Janeiro crew, being the main members bilingual so they could communicate with the American crew that flew to Brazil for this shoot.

We also had to build a temporary production office to accommodate the project needs and, after analyzing the production plan, we felt that the best place to have it was in the Ipanema neighbourhood, in the same hotel where the foreign crew was staying, so we ended up almost closing the entire hotel for the production.

Another big challenge in this production were the underwater scenes that we shot at the Reserva beach in Rio de Janeiro. For those scenes, we decided to bring in from São Paulo the best underwater camera operator in Brazil so we could make sure we were getting the best footage for those moments.

There were also some challenges with both art and wardrobe departments. The scenes filmed in Rio de Janeiro were written as Sergio’s flashbacks, so they were set during the 70’s and we had to make sure all scene components were true to that time, such as street signs, cars, beach wear, people’s wardrobe, accessories, etc. 

Valéria Costa (Second from left) with the production crew behind the scenes of a shoot

NYFA: What has been your favorite project you’ve ever worked on?

VC: I have special care for two Brazilian movies that I’ve produced scenes for in the U.S, which starred a big Brazilian comedian, Paulo Gustavo: Minha Vida em Marte (translates to: My Life in Mars) and Minha Mãe é uma Peça 3 (translates to: My Mother is a Character 3). 

Respectively, I produced the NYC Unit for the first film and the Los Angeles Unit for the second film. It was a great experience and really fulfilling to produce for an actor that is so well known in my home country. 

Valéria Costa (Second from Left) prepping for a production

NYFA: You’ve shot predominately in both Brazilian and U.S markets; What are some of the differences or similarities between working on those two sets culturally or professionally?

VC: I think that, besides the language, the biggest differences between shooting in Brazil versus shooting in the U.S are the processes, especially the bureaucratic ones. For example, the Brazilian customs are very tricky and complicated to deal with, so every time a client wants to ship an equipment or any other goods to Brazil, I have to make sure everything is done the right way, or else we can have packages stuck at customs. 

On the other hand, film permitting processes are different in the US, it has more requirements, especially in LA, and the jurisdictions are more divided between each film commission. 

NYFA: In addition to production, you’ve also written and directed some of your own short films – how has that helped you as a Production Manager?

VC: The short films that I wrote and directed were all very small productions, which means I had to wear a producer hat also at times – even if I didn’t realize it at the time. I believe that helped me to learn how to produce with little resources and how to manage what I had the best way possible and I definitely use those skills today as a Production Manager.

NYFA: Do you have any advice for incoming NYFA students?

VC: There’s a Brazilian saying that I believe summarizes working in the film industry for me. It says: “A rapadura é doce, mas não é mole não” which translates to something like “The candy is sweet, but it’s not easy to bite.”  What we do is definitely not easy. You work long hours, deal with extremely tight deadlines and budget limitations, but I really love making movies and dealing with all the moving parts of a set and once you can see the final product I can guarantee that it’s worth it.

New York Film Academy would like to thank NYFA Filmmaking alum Valéria Costa for sharing more about her experience being a Production Manager and congratulates her on the latest successes of her projects; we look forward to what is next from the NYFA alum. 

Q&A With New York Film Academy (NYFA) Filmmaking Student Kartik Venkatraman on His Film Festival Success and Upcoming Film ‘Tehravin’

It was not too long ago when the New York Film Academy (NYFA) Filmmaking student Kartik Venkatraman decided to quit his day job in India and start a new career in filmmaking in the U.S. Now, his drive for storytelling and the decision to follow his dreams seems to be paying off with his film Tehravin already receiving festival buzz from the likes of New York Lift-Off Festival and the IndieFEST Film Awards. 

NYFA filmmaking student Kartik Venkatraman (Second from right)

NYFA was able to connect with the filmmaker and discuss his journey from Mumbai to the U.S, his upcoming film Tehravin, and the challenges he faced while shooting at the beginning of a global pandemic.

New York Film Academy (NYFA): So tell us a bit more about yourself and how you came to be a filmmaker!

Kartik Venkatraman (KV): I was born and brought up in Mumbai, India and raised in a middle class household. When all kids would go out to play during their summer vacation, I would make my own stories, convert them into a three hour screenplay, and act them out alone and sometimes with my friends. However, as I grew into an adult, I followed the traditional path of completing my education and taking up a day job, but the creative kid in me was still alive and I could not stop thinking of story ideas and converting them into screenplays. 

I would narrate the stories to my wife and my best friends and would usually get positive feedback for them. I ended up writing screenplays for two feature films. Once I wrote them, I wanted to give life to the screenplays and did a six month course in filmmaking, all while keeping my day job. I finally began to realize that I had it in me to become a filmmaker and tell my stories visually, and I couldn’t do so without proper training if. I finally made the bold decision to leave a well-paid job that I did not enjoy and follow my dreams. I was supported by my wife, who also encouraged me to take this opportunity as she believed in me. I did a lot of research and came to the conclusion that New York Film Academy (NYFA) would be best suited to help me enhance my skills as a filmmaker and thus I started my journey into the filmmaking world by moving to the U.S and joining NYFA.

NYFA: Can you tell us more about your film Tehravin?

KV: Per Hindu rites, 13 days is a grieving period which helps in healing the pain of the loss of a loved one. Tehravin (Thirteenth in English) is about a man who follows this ritual to help himself come out of the pain of the death of a relationship. While doing so, he reflects back on his past and the good and the not-so-good memories of the person he lost. His struggle eventually pays off as he emerges stronger and sees the light at the end of this dark period.

NYFA: Where did you shoot Tehravin and what was that process like for you?

KV: I shot Tehravin over the course of five days in New York City and New Jersey. I had a few challenges while shooting the film, however. My actor backed out a day before the shooting and I had to find a new actor within a few hours to make sure I completed the shoot; I was lucky that I could find one (a student who was already taking a 8 Week Acting for Film course with NYFA).

The biggest challenge was that the global COVID-19 outbreak had become an official global pandemic a couple of days after we started shooting (I started shooting on March 8, 2020). I had three days of shooting left and was worried if I would be able to complete it, but my crew and my actors stuck with me and we made sure we completed the shooting in between the pandemic safely. 

It was my first major short movie (I had made a few class assignments before) and I believe the fact that I finished shooting it was the most satisfying part, especially considering the challenges.

NYFA: As writer, director, and producer for this film, what are you hoping the audience will understand or perhaps empathize with after watching Tehravin?

KV: The pain of the end of a relationship is akin to the death of a person. If we mourn the death of a relationship like we would mourn the death of a person, we should have the ability to emerge a stronger person at the end of the mourning period. 

The film also has no dialogue and is reliant on visuals and background music to tell my story. I hope the audience is able to relate to the pain of the protagonist and also learn that there is always light at the end of the tunnel, you just need to work your way towards it. There are some subtle nuances that I’ve tried to bring out through the visuals and the acting, and I hope the audience is able to get them. 

NYFA: Can you tell us more about the New York Lift-Off Film Festival?

KV: The Lift-Off Global Network is an organization encompassing worldwide live screening events, distribution initiatives, a seasonal awards ceremony, and an ever growing and active Network of indie film creators.

The Lift-Off Season Awards is an annual event which celebrates the very best of indie film. Following each Lift-Off film festival, films which have excelled in their respective category are nominated and invited to attend the prestigious Lift-Off Season Awards, culminating at the end of the Lift-Off season.

Each year the Lift-Off Global Network of film festivals screen hundreds of incredible films from a diverse range of artists with huge talent that deserves recognition. Throughout the year, they aim to discover and publicize the very best of this pool of talent and give those filmmakers the recognition they deserve.

In addition to being selected for the New York Lift-Off Film Festival, I also recently got selected for the IndieFEST Film Awards

NYFA: Do you have any other projects in the works?

KV: I am currently working on my thesis film. It is, once again, a very sensitive film and is about child labour and helping poor children have access to education. I have locked my screenplay and look book for the film. I would start shooting it once we are out of quarantine and are allowed to shoot again as I would like to shoot the film in India. 

NYFA: What are some personal elements that you like to include in your stories as a filmmaker? 

KV: Most of my stories are about sensitive topics and about human connection. The thing that attracts me most about an idea is the “what if” part. For example: What if a person who has recently gone through a divorce treats the end of a relationship like he would treat a death? 

I like to take an existing concept and apply a twist to it, and then keep the audience unaware of the twist until the very end. Like I did with Tehravin– it starts with a person mourning a death. All throughout the film, the audience believes that the protagonist is mourning the death of a person and it is only in the end we realize that he was actually mourning the death of his relationship with that person. 

I also like to have subtle nuances in my film and not explain everything to the audience. 

NYFA: Do you have any advice to any incoming NYFA students?

KV: Believe in yourself and never stop dreaming and believing that anything is possible. Make sure you go out of your way to give life to your movie. A movie is like a child. It starts with an idea and then converting that idea to a story then a screenplay, and it does not end with the production and post production. You need to market your film, find a distributor, send it to film festivals, and make sure it gets all the visibility it needs. I did all of that with Tehravin and was lucky to find an audience who understood and related to my movie.

***UPDATE August 6, 2020 – Kartik Venkatraman won the Film Short (Student) Award at the IndieFest Film Awards.

An Open Letter to NYFA Students From Peter Rainer – You Can Make This Your Opportunity

Here in Los Angeles, where I live and work, the word is out that Hollywood film production will gradually be returning to a semblance of normalcy. But what does that mean exactly? What is normal? And what does this mean for you as film students hoping to enter a profession that, even with the lifting of restrictions, seems so fraught?

I am more hopeful than pessimistic about your prospects. Here’s why: My basic premise is that, going forward, the Hollywood studios will be much more wary of making big-budget movies with large casts. Why? First of all, there is the unavoidable COVID-19 reality that movies, involving hundreds of cast and crew, will be physically challenging to execute. This means that the era of the big blockbuster, at least for the time being, will likely be winding down. The logistics involved with creating a film, which were always difficult, will become much more so. And much more expensive, too.

Many big Hollywood movies nowadays cost upwards of $150 million dollars. The majority, even before COVID, did not return their investment. The fraught new situation means that even fewer movies will make a profit, let alone a mega-profit. Not only will costs go up but – and here’s a large new development – the prospect of reaping rewards from big-screen revenues is quickly diminishing.

We all like to see movies on the big screen, with an audience – especially blockbusters – but more of us are in the position now of having to see films at home, on the small screen. We are wary of venturing into movie theaters, and some may have become increasingly comfortable with home viewing.


A movie studio gets far less revenue from home streaming than from theatrical distribution. In the case of a blockbuster, distributing it as a non-theatrical release would be an invitation to disaster. Almost certainly it will never make its money back.

So where does this leave the major studios? If, for the foreseeable future, movie theaters, for the reasons I’ve cited, will not generate anything like the revenue they used to, what will fill the vacuum?

This is where I think you at NYFA, and your fellow colleagues, have a real opportunity. You already know, or will know, how to craft very low-budget independent films with small crews and casts. This is essentially what you would be doing anyway, before COVID, if not by choice than by necessity. As a result, you will become very attractive to a film industry that, in the current climate, is hungry for movie makers who know how to work fast and cheap and still come up with quality cinema, and the movies you make can likely be shown quite as comfortably on a small screen as a big one. Distributors can buy your films knowing the movies will have a fair shot at returning a profit even if they are only shown as VOD (video on demand).

Something similar to this situation occurred in Hollywood in the late sixties and early seventies. The big expensive blockbuster movies were not connecting with the young moviegoing audience. They were losing bales of money. (Ever see Doctor Doolittle with Rex Harrison?) So the studio bosses brought into the system young filmmakers who previously would never have had a chance otherwise. The bosses were looking for young, exploitable film talents who could make movies that clicked with new audiences and return huge profits à la Easy Rider. Young turks ranging from George Lucas and Francis Coppola to Martin Scorsese and Brian De Palma – almost all of them film school grads – got their shot. That worked out pretty well, didn’t it?

Even if you don’t want to go the Hollywood route, the options before you are great, because there are so many more platforms now where your movies can be viewed and appreciated.

Out of great hardship comes great opportunity. It may not feel that way to you now, but I’m betting it soon will!

Q&A with Actor, Producer, Writer, and New York Film Academy (NYFA) Alum Gina Parris

NYFA MFA Acting for Film alum and Trinidad and Tobago native, Gina Parris, has had more than a decade of experience in the entertainment industry as an actress, writer, and producer. Her interest in the entertainment world began by writing poems, which then evolved into writing her own monologues that she would then perform on stage. 

During her early days as an actress in Trinidad, Parris would perform in the World Laugh Festival (2011, 2012, 2013), Yangatang Tent, Caribbean Woman (Dir. by Trinidad native Hollywood actor Sullivan Walker), Treasure Island: The Musical, and T.V series Starvey’s Angels, where she played Gaga the Witch. 

Her talents springboarded her into other creative avenues like writing screenplays and going from stage acting to acting in film and television. Since her early days in the performing arts, she has lived by the motto, “take your career into your own hands,” and it was that drive that led her to create her own production company, Gina Parris Entertainment Ltd, which will celebrate its 10th Year Anniversary this August.

New York Film Academy had the opportunity to speak with Parris about everything from her award-winning career to the many upcoming projects Parris is involved with:

New York Film Academy (NYFA): You’ve had many opportunities and had some previous training before coming to New York Film Academy. Tell us more about what brought you to study at NYFA?

Gina Parris (GP): I came to the New York Film Academy to pursue a Master’s of Fine Arts (MFA) in Acting for Film (I graduated with Honors). The school was highly recommended by one of my friends from Trinidad, who had studied at the New York campus. I ended up deciding to attend NYFA at the Los Angeles campus because I would have eventually transferred there during my last year of study, and there felt like more opportunities for film acting in LA.

Before NYFA, I received formal training in acting with Trinbago icons such as Freddie Kissoon, Raymond Choo Kong, multiple Cacique award-winner Penelope Spencer (the Cacique award is the most prestigious acting award in Trinidad and Tobago), and Talent Factory Film, founded by talent manager and CEO of Question Mark Entertainment Ltd. Simon Baptiste. I still, however, wanted a professional degree in the field, especially since I have an entertainment company named Gina Parris Entertainment Ltd. I am also a member of the group Powerful Ladies of Trinidad and Tobago (PLOTT). PLOTT is a prestigious group of business women that support each other.

I am currently being mentored by celebrity Lisa Wickham, a media producer-director-TV personality in Trinidad and Tobago, and also creator of The Now Morning Show, which can be found on Facebook, Instagram and TTT (Broadcast channel in Trinidad and Tobago). 

While in the U.S, I became a member of Women in Film, where I was fortunate to be mentored by Sara Scott VP, of Production and Development at Universal Studios, and Randi Richmond SVP Production at NBCUniversal.

NYFA Alum Gina Parris

NYFA: Can you tell us about your short film A Twist of Life

GP: A Twist of Life is my thesis film, as well as the first short film that I ever wrote a script for and produced. I also acted as the lead. A Twist of Life is  also part of the official 2020 selection for the Palm Bay Caribe Film Festival. 

The film is about poliomyelitis victim Avyanna Wolf, who is unable to use her hands because they became deformed as a consequence of the disease. She has the ability to draw with her feet, but further complications arise when she is taken in from being being homeless by someone who takes advantage of her.

Acting in the lead role of Avyanna was a unique experience for me. As part of my role, I wore prosthetics created by Alonso aka Al Domino. I was on an extremely low budget, therefore instead of removing the prosthetics in between takes, I kept the prosthetics on from morning, until we wrapped at night, so I literally could not use my hands. My production assistant and classmate even volunteered to pull my pants down and back up (along with my underwear of course) when I had to use the bathroom. 

I also struggled to feed myself, so one of my cast members fed me, and when I was sniffling from a cold, my friend, Joy Ellison, put a tissue by my nose and said “blow.” Joy was also kind enough to let me use her house to film and, since she is a dialect coach, helped me with my American accent. 

I had an amazing crew and the director, Shashank Varma, was excellent at executing my vision. I also had the pleasure of working alongside my amazing cast, including Trinidad actor and writer Gerry Bednob, known for films such as The 40-Year-Old Virgin, Walk Hard: The Dewey Cox Story, Encino Man, and Zack and Miri Make a Porno, amongst others. My cast also included talented NYFA alumni, including Natalie Whittle, known for films such as Much Ado About Nothing, Orbital Redux, and Speak Now. NYFA alum Chloe Paige Flowers, known for MVB Films’ Halloween Horror Stories Vol II and Public Relations. 

The film premiered at the Indie Night Film Festival in Hollywood and also screened at the Equality International Film Festival. A Twist of Life won the 2018 Excellence award from Metro Film and TV Film Festival, making me an award-winning filmmaker and my first trophy I have ever received for a film. 

In the future, I plan to develop A Twist of Life into my first feature film.

Poster for ‘A Twist of Life’

NYFA: Can you tell us about your short film Gangsters?

GP: Gangsters was the first short film I ever co-produced in the U.S. The co-creators of Gangsters are Freddie Basnight and Tiffany Lewis, who are also NYFA alum. 

I am proud of how the film project turned out, and it went on to win 12 awards across the following festivals: Mindfield Film Festival, Albuquerque, Queen Palm International Film Festival, Hollywood Guild Awards, Hollywood West Wing Film Competition, Pinnacle Film Awards, Indie Best Films Festival, LA Edge Film Awards, Hollywood Sun Awards, Hollywood Forever Film Festival, Alpha Film festival, and Dreamachine International film festival.

Poster for ‘Like a Dog With a Bone’

NYFA: Can you tell us about your latest series Like a Dog With a Bone?

GP: Like A Dog With A Bone: A Visual Guide to Surviving in the Entertainment Industry was influenced by my own homeless experience. When I moved into my car because of financial difficulties, I began filming my experience. It is an unfortunate reality that a lot of individuals become homeless while pursuing their dreams in entertainment. The series shows individuals that hit rock bottom, have experienced homelessness in the past, and those currently trying to make it in the entertainment field. 

I felt the need to create a series like this, so that other people can look at it and learn from the lives of others. Hopefully, in that way, they would not have to suffer like I did and they can use the survival skills that we implemented. 

Like A Dog With A Bone also features the following talented individuals: 

  • Ravyne Demyra Payne (actress, director, NYFA Alum): Known for her work on films such as: Moonlight Magnolia, Cover Girl, Honor Empty, and Casanova
  • Taromi Lourdes (actress and director from Trinidad and Tobago): An award-winning actress [World Wide Women’s Film Festival, Palm Bay Caribe Film Festival] and filmmaker, she has acted in films screened at Cannes, Los Angeles and London. She has also acted alongside NAACP nominee and Trinbagonian–American actor Winston Duke (Black Panther, Us).
  • Ayanna Cezann (producer, TV host, actress from Trinidad and Tobago): Ayanna is known for A Story About Wendy 1&2, ‘Til Death, and The Honest Honestest Truth.
  • Byron Knight (host, dancer, actor): Byron was also a cinematographer for The Honest Honestest Truth.
  • Louis Brown (producer, director, writer, NYFA alum): Louis is known for his work on The Lady in the Red Dress and Charleston Harbor. He has also done work on the show Black Lightning, and recently finished directing his series Forbidden Fruit.
  • Charles Parris (actor, cinematographer, director, radio host, editor from Trinidad and Tobago): Charles is another editor for Like A Dog With A Bone and is also known for his projects such as J Prince: Blood, J Prince: Turnaround and Trinity Isle, The Honest Honestest Truth, and A Twist of Life.
  • Freddie Basnight (actor, producer, director, writer, NYFA alumni): Freddie has appeared in Monster’s Club, Aftermath, Karl and Riley Parras. Freddie also enjoys creating his own content and is the co creator of the award winning short film Gangsters.
  • Errol Fabien (television/radio personality from Trinidad and Tobago): He has over 40yrs in the entertainment industry and has showed his talent in the acting and comedic arena. Errol, along with Banyan Ltd, started the first community television station named Gayelle The Channel; where he is currently the CEO, Chairman and Co- Founder.

NYFA: What other projects are you working on or do you plan to work on?

GP: Like A Dog With A Bone is currently in production and I am still looking for more funding.

The pilot for my TV series,The Honest Honestest Truth, aired on national television in Trinidad and Tobago in 2016 and 2017, and it is considered by The Guardian Newspapers as the first crime drama in T&T. As the creator, producer and writer for The Honest Honestest Truth and my first major project under my company, Gina Parris Entertainment Ltd., I plan on continuing the series. 

I was fortunate to have an amazing cast, including: Rebecca Foster (@bexfoster), who also did the posters for The Honest Honestest Truth and Like A Dog With A Bone, Kearn Samuel, Allan Ferreira, Allan Alvarez, Ayanna Cezanne, the late Brett Bengochea, Dillon Jimenez, Lester Torres, Eirnil Harry, Alister Edwards, Charles Parris and Roxanne Omalo. 

The cast also included celebrities from Trinidad and Tobago such as Errol Fabien, Allan Emmanuel aka Cyclops, and Jason Williams aka J.W. I was also honored that the first black Miss Universe, Trinidad and Tobago’s Janelle Penny Commissiong, showed her support for The Honest Honestest Truth

I will be collaborating with Jamaican born actress, producer, director and NYFA alum, Sherando Cupid, to bring Caribbean stories through film for the world to enjoy. Currently, Sherando and I are working on the film Caribbean Jew, which will be directed by Mikhail Marks and will be filmed in the U.S and Trinidad and Tobago. In addition to being one of the producers for the film, I will also be acting in it as well.

I am currently in discussions with Ms. Lesley- Ann Nelson, president of the Non-Profit Organization, Save Our Children Foundation, in Trinidad and Tobago about doing projects together to benefit children around the world. Ms. Nelson is also a member of Powerful Ladies of Trinidad and Tobago (PLOTT).

I will also be producing and acting in projects with Gold Piece films Inc. a production company founded by director, producer, writer and actor Andrew Lloyd Preston. I will be working with Gold Piece Films as a producer and actress for upcoming projects Brand and digital series Choices.

NYFA: What did you learn at NYFA that you applied directly to your work since graduating?

GP: I was fortunate that while pursuing my MFA in Acting for Film, I was taught various aspects of the film process. I applied the acting techniques editing skills and filmmaking fundamentals that I learned to my work after I graduated. These teachings also helped me while I was judging/screening films for Diversity in the Cannes Short Film and Web Series Showcase, which is supported by Oscar, Tony and Emmy award-winner Viola Davis and her husband.

NYFA: What advice would you give to students just starting out at NYFA?

GP: Come with an open mind. Do not only learn about what you are majoring in but also learn other areas of the filmmaking process and focus on creating your own content. In the entertainment industry, you will notice that a lot of celebrities that excel do not only focus on one entertainment discipline. People take up various roles in the entertainment industry in order for their talent to be showcased. 

Do not depend on someone else to make your dreams become a reality; take your career into your own hands.

New York Film Academy thanks actress, producer, writer, and NYFA alum Gina Parris for taking the time to speak with us and wishes her success in the near future as her career continues!

To keep up with NYFA alum Gina Parris, take a look at her social/contact links below:
Instagram: @gina_parris
Instagram (Like A Dog With A Bone): @likeadogwitha
Website (The Honest Honestest Truth): http://thehonesthonestesttruth.com/

Pixar’s “Out”-standing Short Film Featuring Their First Gay Main Character Hits The Mark

Oftentimes I look at my dog Zelda, a beautiful pet AmStaff troublemaker, and wish we could switch places just for a while to take a break from our complicated human world.

That is precisely what happens to Greg in writer/director Steven Clay Hunter’s short film Out, part of Pixar’s experimental project “SparkShorts,” a program “designed to discover new storytellers, explore new storytelling techniques, and experiment with new production workflows.”

Pixar’s Sparkshorts short film ‘Out’

Out tells of a gay man still in the closet, who struggles to come out to his parents during a surprise visit from them during moving day. Their visit prompts Greg to ask his boyfriend to go out the backdoor, which was met by a stern response commanding Greg to tell his parents the truth. In a hilarious twist of magic, Greg switches places with his dog Jim through the help of two sparkly fairy pet parents. Greg now must simultaneously figure out a way to switch back, all while hiding a photo of him and his boyfriend from his mother. 

Greg’s character is a milestone for Pixar, as he is the first gay main character to be featured in a Pixar production. The film itself underscores the struggles that can come from not being “out” with loved ones and the fear of not knowing what the reaction can be when “coming out.” The short film also uses the switch in perspective to show that sometimes we underestimate people’s ability to accept and love others for who they are.

Greg from Pixar’s ‘Out’ holding a photo of him and his partner

Out marks the first time we see images from the acclaimed studio depicting scenes of affection between characters of the LGBT+ community. Speaking to the Associated Press, Hunter (Director), who has been animating at Pixar for 23 years said, “The first time I drew Greg and Manuel holding each other in the bedroom, I was bawling my face off. All this emotion came welling up because I realized I had been in animation for decades and I had never drawn that in my career. It just hit me.

The industry has been slow to show mainstream inclusion of the community on screens large and small. Pixar has dabbled in representation with a line from the movie “Onward,” where a cyclops character references her girlfriend when speaking about being a new parent. Due to this mention, Onward received a ban in four countries and censorship in many others by simply changing the word “girlfriend” to “partner,” and removing any reference to the character’s sexuality. This certainly hurt the pockets at Pixar, however, it showed they were ready to advance representation of the LGBT+ community for which they have been lagging far behind. Nonetheless, they are making strides.

Still from Pixar’s short film ‘Out’

Jeremy Blacklow, GLAAD’s Director of Entertainment Media said of the film, “Out represents the best of Disney and Pixar’s legacy as a place for heartwarming stories about finding one’s own inner strength in the face of life’s challenges.”

There is a real struggle individuals in the LGBT+ community face when it comes to having the conversation of their sexual identity with the loved ones that raised them and this short film expresses that beautifully. At one point, Greg looks at his dog Jim and asks “What is wrong with me?” By the end of the film, he realizes that which we all know, “nothing” at all. 

The nine minute film is a joy to watch from beginning to end with heartfelt emotion, exhilarating fun and a meaningful story about courage, love and perspective. It is now available to stream on Disney+

Q&A with New York Film Academy (NYFA) Documentary Filmmaking Alum Mollie Moore

While traveling all over the world working on multiple film sets, New York Film Academy (NYFA) Documentary Filmmaking alum Mollie Moore knew she wanted to continue to tell stories through non-fictional storytelling.

She then moved to New York from her home base of London, England, and attended the 1-Year Documentary Filmmaking conservatory at NYFA, where she graduated in 2018. With her background in cinematography and love for documentary filmmaking, Moore continues to push to tell stories that are waiting to be told and to give viewers a glimpse at the life and experience of another.

New York Film Academy spoke with Documentary Filmmaking alum Mollie Moore about her experience at NYFA, her work as a global filmmaker, and her upcoming project with artist Marc Quinn.

Moore shooting on set for the film ‘Mama’

New York Film Academy (NYFA): What made you want to pursue this career in documentary filmmaking?

Mollie Moore (MM): I grew up in South London and was always involved with the theatre world there from a young age. After leaving education, I made the decision to not attend university straight away and, instead, moved to Australia. I ended up traveling around South East Asia, India, South America and further. During this time, I worked on different fictional film sets as part of the crew. This continued for four years, and in this time, I realized the vast possibilities of storytelling and the importance of capturing the beauty of the world we live in and the stories within it. Documentary felt like a natural marriage with my background in theatre, story telling and my passion for exploration and the people I met along the way. This idea eventually led me to New York City.

NYFA: What made you decide to study Documentary Filmmaking at NYFA?

MM: I decided to study at NYFA because it appeared to be a program that I could give all of my attention to, whilst also getting maximum in-person time to learn in a creative and hands-on way.

NYFA: Who are some of your favorite filmmakers/documentaries/media that you think readers should check out?

MM: There are so many incredible filmmakers that are breaking the boundaries of traditional filmmaking. A piece of work I saw and was very moved by was Ja’Tovia Gary’s  The Giverny Document, which has been screened in cinemas and art exhibitions. It Is an experimental piece of documentary filmmaking that “meditates on the safety and bodily autonomy of Black women.” 

Another piece of filmmaking I have seen this year that has stuck with me is a love song for Latasha, another experimental documentary film about Latasha Harlins, who was killed in LA. It is told through memory and archive of her cousin and best friend, and her death is considered to have contributed to the 1992 Los Angeles riots.

NYFA: What are some challenges you may have faced as a filmmaker in the industry?

MM: For me the biggest lesson has been finding my own voice in a male-dominated industry and learning how to best hold yourself in difficult situations. It is a constant learning curve and strengthening experience. I think, as documentary filmmakers, we should constantly be self-reflecting and asking ourselves hard questions about what drives our work.

 

‘A Word Away’ Film Poster (Dir. Mollie Moore)

NYFA: Can you tell us more about your thesis film A Word Away?

MM: My film A Word Away is about a young man named Cosmo from South Sudan now residing in the USA. Cosmo attempts to articulate his journey of migration through the medium of poetry. It was important for me to find a new way of telling a story of migration, through a more intimate and personal lens. The film looks closely at the effects these themes have on mental health, through a young mans eyes and his family. The film premiered at Camden International Film Festival in Maine, where we shot the film. Cosmo and his family were all there to watch the premiere of the film. This was very important for me.

NYFA: Can you tell us more about the other films you have worked on with NYFA alum Lucia Florez? What about other projects (other than A Word Away) you have worked on?

MM: Lucia and I have made three films together so far, with the hopes of eventually making a feature film together. As well as A Word Away, we made the documentary Paper Thin about a young transgender womxn starting a new life in New York City after having to flee the persecution of LGBTQ+ persons in Russia. The film has been really successful amongst festivals. Our most recent film we made together is called Mama. It’s a personal story between a mother and daughter (Lucia), who look into their past to try and reconcile their relationship after difficult years born through the conversation and opinions of Lucia’s sexuality, in the setting of Latin America.

NYFA: You have filmed in many locations all over the world. What are some key learnings that as a filmmaker you have learned from filming all across the globe? Why has it been important to you?

MM: Being lucky enough to have travelled with work has been something I am extremely grateful for. I have been incredibly humbled by the people I have met and worked with in these settings. It is so important to remember how much trust you are being given by people who are generous enough to allow you into a small part of their world. I think that trust and responsibility is not to be taken lightly. This is even greater importance when you are walking into a situation and setting you are not so familiar with. It is important to listen intently before making your own assumptions and narratives. I think documentary filmmaking should always be seen a collaborative process between the filmmaker and the people sharing their stories.

NYFA: A lot of your work focuses on the LGBTQ community, as well as themes of forced migration. Can you explain how this is incorporated or highlighted this in your work? Why is it important for the film industry to see more stories like this told?

MM: I hold both these topics very close to my heart and with a lot of passion, and I identify with some of these themes on a very personal level. I think shedding light on topics and communities that have often been misconstrued massively and discriminated against through violent acts of oppression and injustice is of huge importance. If we have the tools to give platform to things in a honest way, we must share It and give voice to those whose realities have often been silenced throughout history.

NYFA: Do you have any upcoming projects you are working on?

MM: I am currently working on the artist Marc Quinn’s Our Blood project as one of the filmmakers on it. Our Blood is a multi media art project that focuses on the refugee crisis all over the world. We have been filming in London and New York City. The art piece will premiere outside of the New York Public Library sometime in 2021.

New York Film Academy thanks Documentary alum Mollie Moore for taking the time to share her experiences and thoughts on the responsibilities of storytelling for documentary filmmakers. We look forward to seeing more projects from her in the future!