These three members created Screenplays that not only showed a deep sense of professionalism in the writing community, but created a ten page screenplay that followed along the lines of survival in today’s society.  The Winner of this competition was Erin M. Underwood with her script called The Funeral, along with First Runner Up, Sally Thitu Muiruri with 15 Years Later and Second Runner Up, Alessandra Bautze with The Impediment. 

WINNER

Erin is an editor, writing and reviewer who specializes in science fiction and fantasy.  She is the editor of Greek Theater: 15 Plays by Science Fiction and Fantasy Writers, The Grimm Future, Futuredaze: An Anthology of YA Science Fiction and Futuredaze 2: Reprise. Erin is also a two-time nominee for the Fanzine Hugo Award for her editing work on Journey Planet. In addition, she is also an event content producer for emerging technology conferences and events. 

To learn more about her future aspirations and the ideas behind writing the winning script, read below: 

What are your current aspirations for the future with screenwriting?

Movies, film, and cinema have always been a creative draw for me. I think very visually in my storytelling and have found that screenwriting is particularly well suited to how I think about and tell stories. I am currently working on the final draft of a feature length film and will then turn to developing a new idea. Writing screenplays is deeply satisfying from a creative perspective, and I plan to continue writing with the intention of selling my work to production companies that would like to bring my stories to life.

How did you relate to the theme of survival?

The theme of survival has been on my mind a lot recently. The number of people who have lost their loved ones in the pandemic and who have had to find ways to continue living in the wake of their pain and trauma has become a constant reminder of the pain I still feel at having lost my mother to cancer several years ago. Survival is a constant. It’s the continuing need to figure out how to navigate pain, death, love, and living while also searching for our own path forward. In many ways, The Funeral was an expression of the pain and joy that I struggle with even now as I remember my mother and feel her loss. Survival is also about letting ourselves experience moments of unexpected joy.

How did the theme of survival manifest in your screenplay?

Survival isn’t just about living, it’s also about being left behind and how to manage the devastating loss of a loved one, especially a parent. The Funeral tells the story of Máiréad’s path to survival after having lost her mother and how she confronts her grief. Her survival comes in steps and stages, some of which she must take alone while others require those who love her to join her on the path. 

FIRST RUNNER UP

Sally Thitu Muiruri has written and directed her first solo film, BLACK RED N GREEN - a feature-length documentary analyzing togetherness among Kenyans living in Massachusetts. Sally is an enthusiastic filmmaker and continues to tell African stories that seek to contribute or initiate conversations about various social, and socio economic issues in the black community.

In the past, Sally has directed and produced three short student films: First Day in College, Pitching and Kare in America. 

SECOND RUNNER UP

Our second runner up is a native Arlington, Massachusetts citizen.  Alessandra Bautze is a Visiting Assistant Professor of Screenwriting at The University of Iowa.  She holds an M.F.A. in Screenwriting from the University of Texas Austin and a B.A. in The Writing Seminars & Film Media Studies from Johns Hopkins University.

Alessandra’s feature screenplays, short scripts, and television pilots have garnered numerous awards. Her work often tackles diverse issues of social import and features characters that reflect the diversity of the American experience.

Her screenplay SAVING SHENANDOAH, a drama about a teenage girl in foster care who goes to great lengths to protect her late foster mother’s young biological daughter, was among the top three winning screenplays in the New Hampshire Film Festival Screenplay Competition. A live reading of the script took place in Seattle in April 2017 in conjunction with the Seattle International Film Festival. 

She has also taught screenwriting at The University of Texas at Austin, at The University of New Hampshire at Manchester, and through Baltimore Youth Film Arts. She believes in the power of language to connect communities.

WIFVNE is proud to announce the Winner and Runners Up to its 2021 Screenwriting Contest! The contest took place over this past spring, with scripts judged by three esteemed panelists - Jennifer Rapaport, Wendy Ewan and Denise Widman. 

Screenplays were a response to the theme of "Survival" and all genders were encouraged to submit original work.

• Our First Prize Winner is THE FUNERAL by Erin Underwood, an editor, writer, and reviewer who specializes in science fiction and fantasy. Underwood will receive $150 and a one year WIFVNE individual membership. Additionally, she will receive a 20-minute consultation with Cheryl Eaan-Donovan. Eagan-Donovan is a former WIFVNE President, producer and screenwriting consultant, who will assess the project and provide strategies for discovering and developing unique, authentic voices for Underwood’s narrative script.

THE FUNERAL

Logline: After the loss of her mother, a young girl finds her way back from grief.

 

• Our First Runner Up is 15 YEARS LATER by Sally Muiruri, who will receive $50 and a one year WIFVNE Individual Membership!

15 YEARS LATER 

Logline: A young Kenyan girl moves to America and struggles to reconnect with her mother who left her behind in Kenya for 15 years ago.

 

• Our Second Runner Up is IMPEDIMENT by Alessandra Bautze, who will receive a one year WIFVNE Individual Membership.

IMPEDIMENT

Logline: An eighteen-year-old homeless girl living in a community of squatters on the edge of society must make a decision about her future.  

 

All three artists will participate in a Table Read of their Screenplays on July 26, 2021. Find out more about our winners via our WIFVNE BLOG and  stay tuned for upcoming details for the exciting event. CONGRATULATIONS to all!

WIN $1000 With YOUR SHORT SCREENPLAY!

DEADLINE July 30, 2021

APPLY at FilmFreeway.com/cinemastreet

The CinemaStreet Women’s Short Screenplay Competition invites women screenwriters to submit short dramatic scripts of any genre (20 minutes and under) to CinemaStreet Pictures for production consideration.

The winning screen writer will receive a $1,000 prize for the option to produce the film. The first year’s winning screenplay, 6:18 to Omaha by Leah Curney, was produced in 2019/2020. Screenplays may be from anywhere in the world, but must be in English.

The application fee is $30; $20 for Members of Women in Film Chapters, The Writers Lab current and former applicants, The Black List Members, International Screenwriters Association Members, Women Make Movies Filmmakers, IFP Members and The Rehearsal Club Members. Sponsored by CinemaStreet, Dana Offenbach, owner, and managed by Terry Lawler, former Executive Director of New York Women in Film & Television.

Apply at FilmFreeway.com/cinemastreet!

Berkshire Film and Media Collaborative (BFMC) Offers Online Workshops Led by Hollywood Producer and Agent Marilyn R. Atlas!

Marilyn Atlas is a Hollywood talent agent, literary manager, and producer with a longstanding commitment to diversity and the portrayal of strong female protagonists. She’s the producer of the HBO Sundance winning film Real Women Have Curves (now in development as a Broadway show) and The Choking Game on Lifetime, among other films. Atlas has also produced several plays, and she’s currently developing multiple film and television projects.  Atlas is a sought-after speaker at writers’ conferences; she’s co-author of the  relationship-based, screenwriting guide, Dating Your Character (Stairway Press).

Diane Pearlman, Berkshire Film and Media Collaborative executive director and WIFVNE Member, says she’s pleased to bring Marilyn back to lead these workshops:

“Marilyn provides the inside-Hollywood perspective that gives writers, directors and producers a clear advantage in getting their projects onto the page and into production. We had tremendously positive feedback from her January classes, and we’re thrilled we can leverage her expertise to take members of our community to the next level.” 

Check out three workshops coming up in June: 

-----------------------------------------------------------------

Course #1 

What’s Hot in Hollywood: The Current State of the Film and Television Marketplace

Thursday, June 3, 6:00–8:00 pm EDT

Get familiar with what studios and producers are buying right now. In this two-hour workshop, you’ll learn what type of projects are being "green lit" by film and television studios and how to get your project "seen." You’ll discover the most effective ways to reach out to managers and assistants at production companies, and you'll learn best practices to keep your script from sinking to the bottom of the pile.

In this class you’ll explore crucial topics such as

• The pros and cons of talent attachments 

• Gaining access through IMDB Pro

• What to do if you're not in LA or New York

• The ins and outs of NDAs

• The growing role of YouTube

• How streaming companies have altered the landscape

• The best ways to get representation

• The importance of film contests

Advance preparation:  To make the most of this workshop, write up questions on these topics ahead of time; they'll be forwarded to Marilyn in advance so she can address your questions during the course.

Cost: $45; student price $30 (limited)

GET TICKETS HERE

----------------------------------------------------------------------

Course #2

Perfect Pitch: Creating a Powerful Treatment and Pitch Deck/Look Book

Thursday, June 10, 6:00 – 8:00 pm EDT

A treatment and a pitch deck (aka look book) are two critical tools you need to get potential buyers and talent interested in your project. In this hands-on, interactive workshop, you’ll learn what goes into a successful pitch deck and what elements should be included in your treatment. You’ll review and discuss examples of treatments provided by Marilyn, and you’ll learn the optimal way to present yourself as the best person for your project. This workshop includes the rare opportunity to sharpen your tools and presentation skills by actually pitching to a Hollywood pro. 

Advance preparation:  Come to class with a logline (a two-sentence summary of your project) that you’ll use to pitch to Marilyn in the workshop.

Class size is limited to 20 participants to ensure participants get a quality learning experience, including plenty of time for interaction and Q&A with Marilyn.

Cost: $65; student price $45 (limited)

GET TICKETS HERE

----------------------------------------------------------------------

Course #3

Navigating Character Arcs: Hone Your Script by Deepening Your Character 

Thursday, June 24, 6:00 – 8:00 pm (EDT)

Knowing your character inside and out will give your script an authenticity that draws people in; it allows you to tailor plot points to your character’s emotional and spiritual progress. By delving into why your characters go about things the way they do, why they sometimes feel alone, why they don't have more support, and what’s stopping them, you’ll be, in effect, refining your theme. Focusing on your narrative POV (which includes your character’s POV) as you navigate the various emotions your character experiences is a powerful way to strengthen your script and make your mark as a storyteller.

In this workshop you’ll gain insight on how to

• Deepen your character’s arc.

• Ensure you don’t just have conflict, but that you have meaningful conflict stemming from diverse POVs

• Get into your character’s head and feel the pulse of a scene. 

• Make a scene unfold and expand so it feels like a real-time, but still interesting, development.

Advance preparation:  To participate fully in this workshop, please watch or rewatch the films Moonlight and Get Out, the pilot episodes of Breaking Bad and Fleabag, and the second season premiere of Fleabag. Be prepared to discuss how the characters develop and change.

Class size is limited to 20 participants to ensure you get a quality learning experience, including plenty of time for interaction and Q&A with Marilyn.

Cost: $65; student price $45 (limited)

GET TICKETS HERE

-----------------------------------------------------------------

 More INFO: Berkshire Film 

The Berkshire Film and Media Collaborative (BFMC) is a creative economic engine that supports production and workforce development in Western Massachusetts. BFMC develops educational and workforce enrichment courses, offers networking events for industry professionals, acts as a resource for visiting productions, creates jobs within our communities in the film industry and provides an online production guide and locations database as a resource for filmmakers. BFMC is a 501(c)(3) non-profit organization. For details: www.berkshirefilm.org.

A member of WIFVNE and Harvard Square Script Writers since 2015, Missy Cohen-Fyffe earned a Master Screenwriting Certification from ScreenwritingU in 2016. She is represented by Stephanie Rogers & Associates in Las Vegas, NV. Cohen-Fyffe also sits on the board of the ESSCO-MGH Breast Cancer Research Fund, a cancer charity her family established in 1993 shortly after her sister was diagnosed and treated for breast cancer. To date, the fund has raised over $8 million; 100% of which has gone directly to MGH to fund novel and innovative breast cancer research at MGH in Boston. Cohen-Fyffe resides in New Hampshire with her husband.

Meet WIFVNE Member Missy Cohen-Fyffe! 

How did you get started in the industry and explain what you do currently? 
I got started in the industry in a silly way. I had been running my own business, making and manufacturing baby products that I patented, but after a while what I really wanted to do was write movies. So, I wrote a script and said to myself, ‘Okay, if I place in a contest, I’ll get rid of my business and I’ll write movies.’ Definitely not the smartest business plan, but as luck would have it, I placed. It gave me the feeling (however fleeting) that I could write movies.

Once I realized how little I knew about screenwriting, I decided to take some classes on the subject. I lucked out when I found ScreenwritingU. My coursework culminated in an 18-month Master Screenwriter Class. In order to finish the course and receive my Certification, I was required to pitch managers. It was unnerving, to say the least, but I was fortunate to be signed by a manager as a result.

During the masterclass, I also took on two writing assignments. Even though they paid little, I earned writing credits. The writing credits gave me credibility and helped earn me representation.

From there, I just kept writing scripts. I’ve since optioned four of them.

What do you love about your job? 
I love being in the zone. When the dialogue is flowing and the action is working, the hours fly by. I love that I can work anywhere at any time. And it’s a nice bonus that watching movies and TV is all part of the job. I also love reading scripts, specifically well-written scripts like those from the Black List. They’re such enjoyable reads; fast-paced and artfully crafted. Reading a good script is like watching a movie play out in my mind, and I love movies.

You worked on BABYBULLDOG...
 This was one of my writing assignments. I came across a  posting by a producer on a screenwriting website. The  producer wasn’t planning to pay much, but also offered  an IMDB credit for the work. He wanted a writer for a  dog story, and I had previously written a talking-dog  story so I sent him the script. Soon after, he reached out  asking me to write his script for him. The turn-around  was three weeks, which would be a really tough  turnaround if you were starting from scratch, but he had  already provided a 3-page outline of what he wanted. He  liked what I wrote and asked if I would do another for  him. I did. I don’t think I ever got the final payment from him, but by the time those projects were going into production, I had signed with my manager and was in an entirely new ballgame. And, I did get the IMDB credits.

Can you share any advice about how you got your work into competitions*? What does a solid first ten pages look like? 
Getting into competitions is not difficult. Winning them is where it gets tough. You can go to Coverfly and search the competitions that match your genre. The earlier you submit, the cheaper the cost. If you’re new to screenwriting, select competitions that provide notes. Even if you aren’t new, getting notes is always a plus. As far as your first ten pages go, you have to create characters and a story that someone (producer, director, actor) can feel so passionate about that they’re willing to spend millions of dollars to produce it. The first ten pages are key because they set the tone for your story and showcase your writing capabilities. If by page ten no one knows what they are reading (who’s the protagonist, what’s their goal, etc.) then there’s going to be a problem with the rest of the script.

What has your experience as a woman in the industry been like? 
I’ve been fortunate to have a female manager, and a lot of female mentors that I look up to and follow. Meg LaFauve and Lorien McKenna are fabulous women and they also happen to be incredible screenwriters. I love their podcast, The Screenwriting Life. I also enjoy Pilar Alessandra’s podcast, On The Page. She interviews all sorts of feature and TV writers. For me, being a female writer has been a positive experience. When I first started, there weren’t a lot of female writers winning awards, but now I feel the industry sees what we bring to the table. As a female writer you are able to open doors that weren’t available to you before. You have a voice that is fresh and new, and now the industry is interested in hearing it. 

Do you have a mentor? 
I have to credit Hal Croasman, who is the head of ScreenwritingU. He has revolutionized the teaching of screenwriting. And when I look at a project now, I not only look at it from a creative perspective, but also from the perspective of what a producer needs; it’s a business decision I weigh with my creativity. I credit Hal for pushing me to continually move projects forward, and honing my craft.
 

Photo:  Missy and other Feature Screenwriting Finalists on stage at the 2018 Broad Humor Film Festival

Can you share what you are working on right now, and what your next steps are? 
I just finished my latest rom-com which went to my manager last week. I’m also working on new projects to pitch to her. As far as next steps go, I’ll likely begin my next screenwriting project over the course of the month. I’m always hopeful that one of my script options will be greenlit. Until then, I keep working on concepts and writing. I am also in the early stages of producing an award-winning short script, Café Amor, written by my friend and fellow writer, Judi Mackenzie. We’re aiming for an October production. But writing is what I love. And I’m lucky to be able to do what I love.

Why are you a member of WIFVNE? 
WIFVNE has so much programming, and that’s what I love about them. I came across the organization because my acting friend, Amy Evans, thought I needed to get out of my tiny office-cave and network with fellow writers. She told me about an upcoming WIFVNE meeting, and I went. Someone was kind enough there to introduce me to Genine [Tillotson] from Harvard Square Script Writers, and we hit it off. I became a member of HSSW, too.

*Given our 2021 screenwriting competition, can you tell us what writers should keep in mind when writing a ten page script? Any advice for writing powerful short form content? 
Short form is a challenge because you don’t have ten pages to establish your story, you have to grab your reader before they hit the half-page mark. You need to establish your character, tone, and what the story is right off the bat! But the good thing about shorts is that, unlike features, your second act is literally four pages.

This interview was conducted by WIFVNE member and volunteer Sophia Ciampaglia.  Sophia is an impending college graduate who is passionate about development, and pre-production. Currently she is interning with Circle of Confusion, and is eager to keep learning more about the script to screen process of filmmaking.

WIFVNE announces our 2021 Short Screenplay Competition Judges! 

DENISE WIDMAN 

Denise Widman has written several feature length and short scripts which have placed in the Austin Film Festival’s Script Competition, NYC International Screenwriting Awards, Women in Film and Video New England Screenplay Competition(s), the Mystic Film Festival Screenwriting Competition and several others. She has served as board president of Boston Jewish Film (BJF) and has held other leadership roles within BJF. She also served on the board of Women in Film and Video New England and is a member of New York Women in Film and Television, Massachusetts Production Coalition, and Film Society of Lincoln Center. Denise has a background in marketing for entertainment and communications companies and is also involved as a volunteer or board member with several other non-profit organizations.

You can find her on Facebook and Instagram: @denwiddy 

WENDY EWAN 

Wendy Ewan is the Artistic Director of Scribe Stages, a site-specific “page to stage” theatre group founded in 2015. She is a writer, filmmaker, and instructor, and holds an MFA in Stage and Screen Writing from Lesley University. She is a 2020 Fusion Winner; Kennedy Center American College Theater Festival Regional and National Finalist; a Finalist for the Playwrights’ Center Core Apprentice Program; and an ITVFEST Semi-Finalist. She has had several productions in Los Angeles and is a proud member of the Dramatists Guild of America. She grew up in Santa Fe, New Mexico but calls Los Angeles home.

JENIFER RAPAPORT

Jennifer Rapaport is a Boston-based screenwriter and an Affiliated Faculty Member at Emerson College, where she teaches screenwriting. She is the writer and co-producer of several short films including Soul Candy, which premiered at the Dances With Films festival in Los Angeles. Her scripts have advanced in competitions including the Sundance Screenwriters Lab, Slamdance, Austin, and PAGE, and have been finalists in the LA Femme International Film Festival and the Massachusetts Independent Film Festival, among others. Jennifer received an AB from Brown University and an MFA from the University of Florida.

Check out more information about the 2021 Screenplay Competition HERE! 

In tandem with the 2021 WIFVNE Annual Screenwriting Competition, we’re here to help writers hone their craft by listing various FREE resources like the ones below: 

BAD PITCH WRITERS

BAD PITCH WRITERS LAB INTRO CLASS: The Bad Pitch Writers Intro Class gives you the basic toolkit of everything you need to start writing. It involves a lecture/discussion portion, as well as exposure to the lab experience by workshopping material: whether it's just a logline, a few images, or your first five pages. The Bad Pitch Writers Intro Lab integrates theory with practice, and introduces you to lab format. 

PAGE TO SCREEN: Take a WRITER'S approach to acting! Master your auditions with an innovative technique that takes a writer's approach to script analysis, and apply it to your audition technique and start increasing your booking numbers!!

Please visit www.badpitchwriterslab.com to sign up, and keep the conversation going by joining our community on instagram @badpitchwriterslab

GRUBSTREET 

April 23rd, 5:00-6:30 (EST)

Happy Hour Writing Session with Instructor Lysz Flo

May 28th, 5:00-6:30 (EST)

Happy Hour Writing Session with Instructor Keena Boling

What's more satisfying than leaving work behind on a Friday afternoon? Rounding out the week with a free writing session, of course! Maximize that Friday feeling and kick off your writing weekend. Leave work behind on a Friday,grab a snack and/or your favorite after-work beverage, and log into GrubStreet Remote for some writing! In 60 jam-packed minutes, you’ll meet fellow writers and get your creative juices flowing with some great writing exercises. 

May 5th, 12:30-1:15 (EST)

Free Brown Bag Lunch Writing Session with Instructor Chalene Riser

Looking for some virtual mid-week writing community? Or do you have a schedule that gives you free afternoons instead of evenings? Join our FREE Brown Bag Lunch Writing Series live via easy to use video conferencing. For 45 minutes, you’ll meet fellow writers and get your creative juices flowing with some cool writing exercises. Led by one of our award-winning instructors or ambassadors.

ISA WORKSHOPS 

April 14th, 11:00 (PST)

Process of Pitching

Some projects are made at the pitch level. Some projects are lost at the pitch level. Let's keep you away from the latter! Pitching is more than just a presentation. It's more than just a sales tool, and in this free class with Max Timm, you will learn how and why your pitch is even more important than you think.

Let's dive in and join Max Timm, the ISA's Director of Education, as he walks us through the intricate and sometimes overwhelming details of pitching your project. Per usual, there will be a lot of information covered in one hour, and he will do everything he can to answer as many questions as he can. So come prepared. Put your creative thinking caps on. If you can't stay for the entire webinar, it will be recorded and members will be able to access the recording shortly after the live event.

April 15th, 5:00 (PST)

Virtual Third Thursdays

We will be having a roundtable discussion with Sonali Mehta, M.Rowan Meyer, and Desa Larkin-Boutté to talk about pitching.  Instead of hearing from industry pros who receive pitches, we will be doing the flipside of that discussion and getting the inside scoop from fellow writers about how they pitch, how they prep, how to avoid pitfalls, etc. 

And we will finish the night off with some mixing and mingling!  It will be a fun, informative evening! And everyone is welcome.

April 21, 11:00 (PST)

Scene Crafting 

Three writers will be asked to take part in a live event, hosted by the ISA's Director of Education Max Timm, where they will write a scene - no longer than five pages - per predetermined story and scene elements. The writers will receive the same story element prompts, and the audience will get to see not only what they came up with from a scene story perspective, but how they format the page, scene direction, dialogue, everything.

 

The ISA notices quite often that a lot of writers have questions about proper formatting, and this event is meant to deliver education while keeping it fun and active.

ROADMAP WRITERS 

The Last Wednesday of Every Month @ 6:30pm - 7:30pm PT

Opening Pages Analysis

In an online group setting utilizing video conferencing software Zoom, Roadmap Writers' CEO Joey Tuccio will give several volunteer writers specific feedback on their opening three (3) pages. The pages will be shared on screen with the rest of the group so everybody can learn from the feedback. 

The Opening Page Analysis will start with a lecture on some of the immediate reasons an executive might pass on your work...and you might not even know you're doing one of these things! Remember, most execs won't read past page 5 if they aren't hooked from the start.

We want to make sure each writer's opening pages are solid and you can even take what you've learned from this Opening Pages Workshop and apply these techniques to the rest of your script.

WIFT-DC

April 26th, 6:30-8 PM (EST)

Roundtable Reading 

The Screenwriters Roundtables are open to the public. They provide a safe place for new and established writers to have their work read and critiqued. They also feature special guest speakers when available. This Roundtable usually meets on the fourth Monday of each month.

If you wish to be added to the Screenwriters Roundtable listserv, please contact the WIFV office at membership@wifv.org. 

 

Free for WIFV Members (must be logged in)

$10 for all general public

Discount for WIFVNE members

WIFVNE VIDEOS

STORY GENERATION in 120 MINUTES 

Hosted by Alexa Alemanni (pre-recorded)

Want to know more about story generation, and how to come up with great ideas on the fly? Watch the pre-recorded session above on the https://womeninfilmvideo.org/videos site! 

*Comment down below if you know any more resources to share! 

WIFVNE is a proud event sponsor of the 2021 Salem Film Festival! The Salem Film Festival will have virtual screenings of films from March 19th-28th, 2021. 

Coming up on March 27th, as part of SFF, our very own Board member Ingrid Stobbe is moderating a live panel discussion titled, “From Idea to Screen,” focusing on the process and production for three women directors with films featured in this year's festival. The women directors include: Anna Koch (Co-Director of Glitter and Dust), Raquel Cepeda (Director of La Madrina), and Giedrė Žickytė (Director of The Jump). Get your tickets now: WIFVNE: From Idea to Screen.

Glitter and Dust is a story about four young girls navigating the American Rodeo circuit, which is typically heavily run by boys. For more information: GLITTER AND DUST | Salem Film Fest 2021.

La Madrina follows a beloved South Bronx matriarch and former “First Lady” of the Savage Skulls gang as she straddles the complexities of multiple worlds in a complicated journey through five decades of Bronx history and resilience. For more information: LA MADRINA | Salem Film Fest 2021. 

The Jump takes place in the 1970’s, following a Lithuanian sailor who makes a leap for freedom from his Soviet vessel onto a US Coast Guard Cutter. We follow him through a series of chaotic events during the Cold War. For more information: THE JUMP | Salem Film Fest 2021.

WIFVNE is a proud event sponsor of the 2021 Salem Film Festival! The Salem Film Festival will have virtual screenings of films from March 19th-28th, 2021. 

Since 2007, Salem Film Fest (SFF) has brought the world's best independent documentaries and their makers to Boston's North Shore. Now the largest international documentary film festival in Massachusetts, the event annually presents more than 80 features and shorts to a loyal audience of thousands. The festival is run largely by volunteers through a non-profit entity, Salem Community Arts Center, Inc.

SFF 2021 will be screening a wide variety of films this year including GLITTER AND DUST, about four young girls navigating the American Rodeo circuit, and THE LETTER, about a 94-year-old Kenyan woman learning how to overcome accusations of witchcraft by her own family. Click here to see the full 2021 catalog: Catalog | Salem Film Fest 2021. 

WIFVNE is also excited to announce two of our Board members will be moderating events. Emily Abi-Kheirs is moderating two Shorts Program Q&As for the films Derby DERBY SHORTS Q&A and Lafayette LAFAYETTE SHORTS Q&A. Derby is a story about tourists enjoying their travels in Myanmar’s hotel complexes while, unknowingly and at the same time, 10 kilometers away members of the Rohingya ethnic group are being tortured and killed. Lafayette takes a look inside a soccer referee’s pressures, fears, and doubts surrounding his job and what comes with it. Along with Emily, our Board member Ingrid Stobbe is moderating “From Idea to Screen,” a live panel discussion on 3/27, with Co-Director of Glitter and Dust Anna Koch, Director of La Madrina Raquel Cepeda, and Director of The Jump Giedrė Žickytė. Look for the dates and times of these panels and stay tuned for program updates.

WIFVNE members receive a discount on our SFF Frequent Streamer passes normally priced at $90 for 10 films and $45 for 5 films. WIFVNE members can save an additional $10 off of 10 films or $5 off 5 films. See your Members Only email for details. The promotion is good until March 18 at 11:59pm. Click here to get your pass: Salem Film Fest.

On Wednesday, March 10th, showcase attendees can view festival award winning films and meet the filmmakers during this year’s virtual Iranian Women Filmmakers Showcase. The showcase and the Meet the Filmmakers event are free but registration is required. Click here for registration: https://www.goelevent.com/WoodsHoleFilmFest/e/IranianFilmmakersShowcase

Hosted by Women in Film and Video New England, in partnership with Women in Film and Television International, and That Child Got Talent Entertainment, and supported by Woods Hole Film Festival, the Iranian Women Filmmakers Showcase will feature nine short films from Iranian women for viewing on demand from March 10th to March 12th. On March 11th, from 12:00 pm - 3:00 pm EST, attendees will be able to connect with the filmmakers as well as speak with other cinephiles immersive experience on Remo. 

Emerson alum Sonia Hadad, whose film "Exam" won the Grand Jury Prize of the AFI fest, curated the shorts program. The films -- dramas, documentaries, and animations -- embrace the different aspects of the Iranian experience for an international audience. The Showcase intentionally takes place during International Women’s Week and participates in the effort to #ChooseToChallenge by seeking out, sharing, and celebrating women's achievements through spotlighting these female directors.

“Women in Film and Video of New England is excited to host our sister filmmakers from Iran and take time to enjoy and celebrate their work especially during women’s history month. We are a global community and the stories of our colleagues around the world are as important as the ones happening in our backyard," said Alecia Orsini, President of WIFVNE.

“That Child Got Talent Entertainment is so very honored to work with the all-women lead organizations-- WIFVNE & WIFTI-- to bring together a collection of short films produced, written, and directed by our sisters in film in Iran. Many thanks for the unwavering curation by Sonia Hadad. We are delighted to sponsor this event and look forward to many more to come. Blessings for another year of Women in Film!” added That Child Got Talent Entertainment founder, Nerissa Williams Scott.

EIGHT FILMS FEATURED IN THE SHOWCASE

Films featured in the event are as follows: 

The Exam 

The oscar-nominated film shadows a young Iranian woman who sets out on a mission to transport a brown package, at the request of her father. The anxiety-filled thriller unfolds in fifteen minutes, forcing the audience to question what may occur in each passing moment.

Directed by: Sonia Hadid

 

The Fried Fish

The fish is yearning to see the sea once again. He asks a cat, a mouse, a dog, and a crow for help, one after another. They each eat a part of his flesh and carry him some distance down the path to the sea. But after a while, one by one, they put him down and leave. At the end, some ants throw the fish’s skeleton into the sea. The fish happily swims away in the deep blue sea.

Directed by: Leila Kahlilzadeh

 Song Sparrow 

This puppet short follows a group of refugees attempting to cross the border. As smugglers transport them in a fridge truck, the exposure to freezing cold temperatures may dim their hopes and chances for a better life. 

Director: Farzaneh Omidvarnia

 

 Marziyeh

Protagonist Marziyeh has always struggled with her religious and strict upbringing. Now as a young married woman she’s navigating the world on her own terms, learning to lean into her newfound sense of self and identity.

Directed by: Dornaz Hajiha

Limbo

An Iraqi sniper chooses to document some of his past killings by tattooing the names of the soldiers on his body. The final tattoo, given by a young Iranian, may astonish viewers. 

Directed by: Ghasideh Gholmakani

 

Bitter Sea

A mother overcomes adversity to protect and provide for her daughter. Their journey brings them to a London river, or a bitter sea, that they gaze upon in the final scene of the film. 

Directed by:Fateme Ahmadi

Revolutionary Memories of Bahman Who Loved Leila 

Complex family drama and history intermesh in the 15min documentary, which takes place in 1978 in Iran. 

Directed by: Farahnaz Sharifi 

Gaze

On her way back from work a woman witnesses something happening in the bus and she has to decide if she reveals it or not.

Directed by:Farnoosh Samadi

Final Encore

Every day on the streets of Tehran, a house in being demolished, a house that one day was designed based on our architecture principals , aesthetics and our needs. Artists have gathered in one of those old houses and created works to pay a last tribute to it as a representative of historical houses of the city of Tehran.

Directed by Farnez Jurabchian and Mohammadrez Jurabchian