OSCARS 2022
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Gotham Chandna
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Claude Brickell Nicole Goesseringer Muj Eric Minh Swenson
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Women Filmmakers Showcase Morgan Dameron is a Los Angeles-based filmmaker. She wrote, directed and produced feature film, Different Flowers, starring Emmy Award winner Shelley Long. The film premiered at the Santa Barbara International Film Festival, won Best Feature Film at KC Film Fest, and was released theatrically in 2017. Her script Monkey Girl placed on the 2019 Bitch List, the film industry’s favorite scripts that pass the Bechdel Test, was selected for the second round of the Sundance Film Festival Production Track and was as second rounder for the 2019 Austin Film Festival. Her pilot script Upbeat! also advanced to the second round of the Austin Film Festival script competition.
Morgan Dameron
As a participant of Ryan Murphy’s HALF Initiative, Ms. Dameron shadowed Gwyneth Horder-Payton on American Horror Story Season 7. She was also selected for the Paul Feig FUSE mentorship program, and a competitive Producers’ Caucus grant. Ms. Dameron got her start working for J.J. Abrams at Bad Robot, on films Star Trek Into Darkness and Star Wars: The Force Awakens, where Poe Dameron was named after her. She graduated Summa Cum Laude from the University of Southern California’s School of Cinematic Arts. She was honored with Kansas City Women in Film and Television’s “Spirit of Kansas City” award, Duke’s Talent Identification Program’s “Early Achievement Award,” and USC’s “Renaissance Prize,” awarded to only ten students per graduating class. She was selected for the “Rising Director Fellowship” by the Alliance of Women Directors in 2020. She has a YA novel adaptation in development with Paul Feig’s Powderkeg, and her original screenplay Fight For Your Right To Party! was recently optioned by Very Big World Entertainment.
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Anna Fishbeyn, Founder and President of XOFeminist Productions and Anteriya Films, is an award-winning star of stage and screen, a filmmaker, director, author and actress. Her movie Galaxy 360: A Woman’s Playground, which she wrote, directed and stars in, had its red carpet world premiere during AFM 2021. The pre-release version of the film screened to a packed house at both the Cannes and Big Apple film festivals and was a finalist of the Sundance New Frontier Exhibition.
Anna Fishbeyn
Fishbeyn’s first play, Sex in Mommyville, premiered in New York City and was recommended by Bloomberg News, while CBS Radio pronounced her “a comic genius.” Her second play, My Stubborn Tongue, played off-Broadway at NYC’s New Ohio Theatre, and went on tour to the West End in London at the Soho Theatre. The play was recommended by The New York Times and The London Evening Standard. Ms. Fishbeyn wrote and starred in the award-winning web series Happy Hour Feminism and directed and starred in Invisible Alice, a short musical film which is currently on the festival circuit. Pre-production has begun on her next movie, How To Seduce Your Dinner Guest.
Peggy McCartha has loved photography her whole life. She is known as the most industry-savvy headshot photographer in Los Angeles. She has brought over 30 years of professional photography experience into her cinematic expressions. She used to joke: “I can tell the whole story in just one frame, I don’t need 60 frames per second.” Her knowledge and experience, including lighting, understanding the psychology of camera angles, and her storytelling abilities, have given her an advantage in the filmmaking world.
Peggy McCartha
Ms. McCartha has worked with some great cinematographers including Meosha Bean and the multi- Emmy Award-winning Michael Brueggemeyer. She has had the opportunity to be the cinematographer and director of photography for several great projects and enjoys being part of telling stories, especially thought-provoking stories that change our world. She has also enjoyed working as a 2nd assistant director, producer, and editor. Besides being a “badass” photographer and filmmaker, she is also a wife, mother, LGBTQ+ ally, lymphedema awareness spokesperson, human and civil rights advocate.
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Tracy Vicory-Rosenquest is a playwright, screenwriter, teaching artist, entrepreneur, and mother living in Plattsburgh, NY. For 17 years, her stage plays have been produced in theaters across the US and Canada. Her screenplay, Avec Son Pinceau (With Her Paintbrush), was commissioned by Ita Bullard and was highlighted as part of the Indie Entertainment Showcase Panel hosted at Sundance Film Festival in January 2020. Her book After The Question was published in 2014 in conjunction with an award-winning documentary produced by Heartland Films. After the Question is now in pre-production to become an animation film. She is currently working on a commissioned screenplay with Heartland Films called The Latin Rose.
Tracy VicoryRosenquest
Ms. Vicory-Rosenquest has taught dramatic writing with theaters across the country including ACT Theater in Seattle and the Flynn Center for the Performing Arts in Vermont. She received her M.F.A. in Creative Writing from Goddard College.
Dee Wallace was born Deanna Bowers and raised in a religious home in Kansas City, Kansas. Although her family was lower middle class financially, they were wealthy in love and talent. Her grandmother was a beautiful artist, her mother a well-known and respected actress in local theatre, and her father an entrepreneur salesman who, unfortunately, fell to alcoholism. He succumbed to the disease with suicide when she was a senior in high school.
Dee Wallace
Ms. Wallace graduated from Kansas University with a degree in Theatre Education and taught a year of high school before leaving for New York to seek her fame and fortune in 1977. Her first audition was for Hal Prince the day she arrived in the Big Apple. She made it to the last round of five girls but didn’t book the part. However, she knew she was on her way! The next two years found her dancing in several touring productions and accumulating tons of commercials which kept her financially solvent. She did a small part in The Stepford Wives and some small industrial films and decided to make her way to Hollywood to try her luck in film. She landed co-star roles right away, which led to guest star parts, which led to films. Within four short years after leaving Kansas, Blake Edwards cast her in
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the hit film 10, which led to Joe Dante’s The Howling. Steven Spielberg saw her and called her in for an audition for Used Cars. She didn’t book that, but Mr. Spielberg called her when E.T., The Extraterrestrial came around, and offered her the role of Mary. She went on to work for more greats like Lewis Teague (Cujo) and Peter Jackson (The Frighteners). Ms. Wallace now has over 250 film credits to her name and is one of the most prolific actresses in Hollywood. She has five series and hundreds of commercials under her belt. Ms. Wallace is also a clairaudient channel and has written six books on the art of self-creation. Her newest release is BORN: Giving Birth to a New You (Briton Publishing). She has also written a children’s book, the first in a series, accompanying BORN titled Buppalapaloo and The I Love MEs. She has just concluded her 560th segment of her live radio show Conscious Creation. She conducts monthly webinars on the subject of ‘Conscious Creation.’ Three-time Telly Award-winning filmmaker Sue Vicory has been creating community-based films and projects within her not-for-profit production company Heartland Films, Inc. since 2003. Her works include Homelessness & the Power of One, feature documentaries One and Kansas City Jazz & Blues; Past, Present & Future and short films Absent and 1898, The W.F. Norman Story. In 2015, she founded Team XX, an all-female team of 25 filmmakers that created the award-winning film Down Stage.
Sue Vicory, Moderator
She is a member of the Los Angeles-based Alliance of Women Directors and creator of the website www.womendocumentaryfilmmakers.com, designed to increase visibility for female filmmakers. She is the creator of the non-profit brand My Power of One (MPO1). In 2015 under the MPO1 banner, she filmed a 48-state tour completing 12 Acts of Kindness. Ms. Vicory and a team of 50 created the film Panic at Park which aired on KOCT and KPBS during the San Diego Film awards. She recently premiered a historical documentary titled Original Jayhawker. Ms. Vicory was named the 2020 recipient of the French Riviera Film Festival’s annual Industry Excellence Award. She was awarded a Lifetime Achievement award from Washburn University, her alma mater.
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Oscar Is... A Woman
IEM celebrates The 94th Academy Awards with a special photo essay titled Oscar Is A Woman, honoring female filmmakers and artists… with a touch of Old Hollywood glamour. The stage was director/producer Jonathan Baker’s Beverly Hills estate Baker Manor, previously owned by Warren Beatty and Annette Bening. International top model and actress Erika Stasiuleviciute is Oscar. 8
“Life is ‘by design’ and it’s all captured in that moment.”
“Oscars - the time for a filmmaker to celebrate her own talent by celebrating another’s talent.”
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“Film is the best art form when it’s done right.”
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“The Oscars are the only time of the year that reminds me of The Great Gatsby era.”
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“As we celebrate change, this year Oscar is a Woman.”
Photos: Eric Minh Swenson Editors: Eric Minh Swenson, Tshombe Sampson Creative Director: Nicole Goesseringer Muj Models: Erika Stasiuleviciute, Jonathan Baker Quotes: Jonathan Baker Body Paint Artist: Hyewon Ahn
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Academy Award® Winner and 2022 Nominee Martin Strange-Hansen Is On Our Minds By Nicole Goesseringer Muj 14
Student Academy Award® and Academy Award® winner Martin Strange-Hansen’s On My Mind shares a story about a man who is desperate to sing his wife a song whatever it takes. This live action short film was produced by double Academy Award® Winner Kim Magnusson and has been nominated for an OSCAR®. The film is inspired by the director’s experience of losing his daughter. In situations like these, singing a song in a sleepy bar, suddenly feels so important and meaningful, because it connects you to the life you’ve shared with the one you have to let go. In the film the main character Henrik, played by Rasmus Hammerich, wants to sing a song for his wife. It has to be today; it has to be now. It’s a question of life, death and karaoke. IEM’s Nicole Muj had the chance to interview the Danish born director about On My Mind, the short film genre and the Oscars. NM: On My Mind truly touched my heart. I read that it was based on your personal experience of loss. I’m very very sorry for your loss. While incredibly sad, was the project helpful to you in any way, in your healing process? MSH: Thank you for your concern. As it’s now 21 years ago I lost my daughter, I’ve had plenty of time, and good help, to heal. Her being in this world, however short it was, is a period of my life which fills me with pride and awe. I would rather say that in this project I’m commemorating what I learned from her. Loving unconditionally, without fearing the sorrow, we were aware would most
Rasmus Hammerich
likely follow. That’s why there’s also a lightness to the story. NM: The film touches on both the spiritual and the scientific. Why was this important to you to explore? MSH: The spiritual element stems in a way directly from my experiences of loss. I’ve felt that my senses became hyper-aware about everything around me, taking note in every little detail, lifting the world around me to a higher state with spiritual undertones. The logical part of me is telling me that it’s 15
Rasmus Hammerich and Camilla Bendix
just my mind searching for meaning, but my heart tells me that it’s a sign of connection to the one I’ve lost. Also, in my experiences with saying goodbye and letting go, I feel that when it’s done with your eyes open, there’s an element of hope within the sorrow. That’s what I wanted to express with the spiritual element.
is it about short form content creation that appeals to you?
The scientific element is also equally based on deathbed-experiences. The feeling of someone being there on the bed, and then the next minute - gone. There’s something so matter of fact about that transition, especially within the technical framework of the hospital, where life’s biggest moments like birth and death can be narrowed down to an appointment in the calendar. Like going to the dentist.
MSH: I think I really like working with constraints. And the short film format is maybe the hardest constraint of all, because you have to be so precise in your storytelling and how you balance the limited time in your storytelling, while still making it feel like a full experience for the audience. In the short film format you can touch on a topic, a dilemma or an emotion, exploring it but still leave room for the audience to discuss and reflect afterwards. Like a good pop song, which in three minutes can connect to the hearts of people across the world, but still leave space for each one to have his/her personal connection to the song or lyrics. A good short film often has that same quality.
NM: You have been extremely successful in the short film genre (multiple Oscar winner). What
NM: In addition to being an accomplished director, you also have been very successful as a
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screenwriter (you wrote On My Mind as well as directed). Can you tell us about some of your collaborations with other directors? MSH: I find that being a screenwriter for other directors highly satisfying: First off, it’s just pure thrill to have a fulfilling collaboration in the screenwriting process. Often writing a script can be a somewhat lonesome journey, but when I write for others I have a close companion, whose ideas and themes I have to crack open to find the coherent narrative. I have written two scripts for a young Danish director, Christian Andersen - a short film Poke, which was shot last year, and an ambitious feature film Sunken Hearts, based on a well-known boating catastrophe in the fishing town he’s from. With a little luck principal shooting will take place the end of 2022. In those projects much of the process has been in asking him about his own recollections and emotional experiences connected to the films’ theme. Often those talks have inspired in direct scenes, which have ended up as key scenes in the script. Also, as a screenwriter you have to be able to adapt to the style and genre of the director. That is actually quite refreshing. As an example, I was writing a project for Heidrik á Heygum, a young Faroese director and pop singer called Island Fever. A Faroese musical with teenage small island blues, dreams of stardom and murder. Here it was important for me to get under the skin of his experiences of growing up in the Faroese Islands, his feeling of wanderlust and connection to his community. So, you can say that as a screenwriter I see myself both as a detective and chameleon.
MSH: This time around it’s so much more emotional for me. As the story stems from personal experiences, I find myself deeply honored and humbled by the fact that the members of The Academy have recognized it as one out of five short films worth honoring this year. So, I think it’s a completely new experience this time… it feels even bigger than the first time around. This time when the nominations came out, I was able to see it together with the crew. It was such a thrill to share that moment with them. I haven’t even taken in what winning an Oscar might mean. I just find that what the film has accomplished up until now is magnificent. Of course, I’m hoping the members of The Academy will put their final vote in our favor. Especially as I hope it can boost Rasmus Hammerich, who plays the main character. He’s such a good actor which this film shows in spades. NM: What new projects do you have coming up? MSH: I’m developing a series about six siblings aged
nine months to nine years who, in the last winter of WWII, walk from Berlin to the Danish border. What I find intriguing is how they manage to carry with them the civilizing rituals from their mother throughout their walk through the war torn country. Based on a true story, I have connection to one of the surviving children, who has granted me the privilege of telling his story. I have a couple of other projects in a very early stage, including a new short film about drinking culture between Danish teens.
NM: What might winning another Oscar mean to you? Did your reaction to hearing about the nomination differ from the first time? 17
Iconic Staircase
Paul R. Williams Architect to the Stars By Claude Brickell 18
You have just flown into LAX and, as you exit the terminal, you are amazed to see a super-modern monstrosity before you, a 135 foot spider-like platform symbolizing the optimism of this space age-oriented metropolis, Los Angeles. You then hail a taxi to take you to Beverly Hills. When you arrive, there, upon request, your driver takes a detour through the nearby residential streets where he begins pointing out homes of former stars like Tyrone Power, Lucille Ball, Frank Sinatra, Barbara Stanwyck, Bert Lahr, Cary Grant, Danny Thomas and many more, all designed, he tells you, by the legendary “architect to the stars” Paul R. Williams. The driver then goes on to say that Williams was responsible for over 3,000 commercial and residential structures throughout the city during the 1930s to 1960s. “In fact,” he reminds you, “that when you landed at LAX, the iconic Theme Building, that super-modern structure at the airport’s center, had Williams involved in that, as well. Los Angeles,” he informs you, “would not look the way it does, today, had Williams not been a part of it. And, that goes for many of the fabulous mansions in Beverly
Chasen’s Restaurant
Hills, Holmby Hills, Bel Air and Hancock Park.” “Really?” you say, amazed. Just then, he turns up a palm-lined drive to your hotel and you see right ahead of you the hotel’s name emblazoned on its pink and green façade. “Oh,” the driver exclaims,
LA Superior Court
“Williams had a hand in your hotel’s design, as well.” You are further amazed. “And its handwritten logo, The Beverly Hills Hotel, is actually of Williams own handwriting. Something tells you you’re not in Kansas, anymore. You’re in the fanciful world of Paul Williams. “Oh,” the driver adds, “did I mention that Williams was Black?” Paul Revere Williams was born on February 18, 1894 in Memphis, Tennessee. He was orphaned at the age of four, however, and was sent to foster care until he was adopted by a middleclass Black couple in Los Angeles. Right away, Williams’ new mother noticed his rare talent for design and she saw to it that he received a proper education for it. As a late teen, he would go on to study at the Los Angeles School of Art and Design, as well as the branch of 19
condition an incentive to personal accomplishment and inspiring challenge. Without having the wish to ‘show them,’ I developed a fierce desire to ‘show myself.’ I wanted to vindicate every ability I had. And I wanted to acquire new abilities. I wanted to prove that I, as an individual, deserved a place in the world.”’ And he did just that with his unusual drive and expert skills working in any architectural style and mastering it. Some of his notable commissions were the Golden State Mutual Life building, the St. Jude Children’s Hospital (in Memphis), the Los Angeles Superior Court building, overseeing the design of Saks Fifth Avenue, Beverly Hills, the revamping of the Beverly Wilshire Hotel and, as stated above, a multi-million dollar addition to the Beverly Hills Hotel, its Crescent Wing. Paul R. Williams and Anthony Quinn
the New York Beaux-Arts Institute of Design, in LA. Later, working as an architectural landscaper to help pay for his higher education, Williams earned a degree in architectural engineering from the University of Southern California. At age twenty-seven, Williams became a certified architect and opened his own firm. The following year, he became the first African American inducted into the American Institute of Architects (AIA). But, he was already facing professional racism. In 1937, he wrote in an essay for American Magazine titled I Am Negro, saying, “I came to realize that I was being condemned, not by lack of ability but by my color. I passed through successive stages of bewilderment, inarticulate protest, resentment and, finally, reconciliation to the status of my race.” And he concluded with, “Eventually, however, as I grew older and thought more clearly, I found in my 20
And Williams’ unique residential designs were becoming the rage. Stars and other movie elites were stepping into his masterpieces and proclaiming, “I have to have this, too!” Over his illustrious career, he designed more than 2000 residences in Los Angeles, alone. He became the darling of non-celebrity elites, as well, with mansions and mega mansions he designed for them in Brentwood, Trousdale Estates and other pricy areas of Los Angeles. It was a different era, though. Williams once remarked on the bitter irony that most of the homes he designed and oversaw the construction of were on parcels with deeds that contained ‘segregation covenants’ barring Blacks from even purchasing
The Beverly Hills Hotel
them. And he was widely known for his upside-down techniques, a practice he developed early on by sketching renditions in an inverted position, as he was not allowed by the architectural firms he later worked for to sit on the same side of the table with white clients. He also developed a habit of standing with clasped hands behind his back so that clients would not feel uncomfortable not shaking his hand. I first became aware of Paul R. Williams when I worked for a while in real estate for the largest firm in Beverly Hills. Properties coming onto the market were always highly touted whenever they were Paul Williams originals. And I quickly learned why. They were simply stupendous. They were sought after for their grand sweeping staircases and
flow-through feel, and they continue to be sought after, today, by the current Hollywood elite and other architecturally-savvy buyers. Williams’ designs, for both suburban and country estates, included a host of styles from Mediterranean, Spanish Revival, English Tudor and his memorable East Coast Colonials, themes that strongly appealed to California residents during the midcentury period. They usually featured craftily-positioned nooks, alcoves and multi-level rooms rarely seen in the designs of other Southern California architects. And they were always impeccably designed down to the smallest detail, airy, sun-filled and graceful. When you step into a Paul R. Williams original, you know it, instantly. It’s the feel of it. And, there is nothing to compare it with, anywhere. 21
Eva Lanska’s The Existential Choice By Nicole Goesseringer Muj Multimedia Installation Explores Feminist Ideas and the Female Dynamic Through Ballet; 3D Video Installation to Have World Premiere in Venice During Biennale Arte 2022 Multifaceted, London-based film director and video artist unveils The Existential Choice, her choreographic new photograph and 3D video installation, at Palazzo Bragadin in Venice, Italy from April 19th to 24th on the opening of the Biennale Arte 2022. The 3D video installation will also be made available as an NFT. In the multimedia installation, Lanska employs gesture and symbolism to explore the intense proximity between collaboration and competition. For a hypnotic minute she offers a sensitive portrayal of the tenderness and tension that can often be held woman to woman. The video is accompanied by a series of photographic stills that invite greater insight, using photography as a medium that enables the artist to explore the ideas she advocates for from new perspectives. Lanska captures movement to convey symbolic meaning. By dramatizing the relationship between two ballerinas, she highlights the socio-ethical sacrifices that dancers continually face. As the epitome of femininity, the ballerinas represent womankind 22
Eva Lanska
more broadly, with the video acting as a parable for the pressures on women to betray one another in their rise to the top. “The betrayal one makes for your career will live in the heart forever,” says Lanska. Here she emphasizes one particular aspect of society that she finds problematic and offers a critical insight into the way many culturally long-standing customs actually run contrary to core humanitarian values.
The video’s top note is one of serenity, with strains of wistful melancholy simmering underneath. Lanska cinematically captures the dancing duo’s arms and hands close-up in synchronic motion, delivering moments of near-abstraction that serve as meditative perspective on the dynamism of coexistence. One dancer is pierced in the chest by the other with a metaphorically loaded whip. The viewer doesn’t experience this as climactic however, but with sanguine calm. The video signifies sisterly feeling as following their competition the dancers enter into a healing embrace, the emotions of which are magnified by Lanska’s close-ups on their faces, sharing their expressions in intimate focus for the viewer. “Ultimately they return from a treacherous state of competitive struggle back towards a harmonious state of love and support,” she explains.
Set in a stable, the regal connotations of a horse resonate with the dancers’ refined discipline. Their well-worn satin pointe shoes grind against the stable floor to represent commitment at all costs; the years of training, the personal sacrifices. While the girl’s posture and embrace in the foreground, an
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plus the expressive virtuosity of prima ballerinas she saw at the Bolshoi Theatre as a child, she works either in black and white or elegant muted colors, using stylized camerawork to refer to tradition and continuity.
elderly butler emerges as an apparition further back – like the ghost of patriarchal social structures past, being eclipsed by the multifaceted presence of the vibrant feminine rising.
Lanska’s first short, Okay, Mum, about domestic violence, won Best Picture at Los Angeles Film Festival and was selected for Short Film Corner at Cannes 2017. Centering around the complex issues facing women internationally, her work finds different ways of intertwining this core priority with related themes such as interfaith marriage (short
Women’s rights are one of Lanska’s core concerns and she has long campaigned for a film industry in which a woman’s age, nationality or origin cease to be barriers to a career in cinema. “When I chose the color scheme for the video installation, I was inspired by the works of Leonardo da Vinci. I started each day by looking at his work. His creative genius was my driving force,” comments Lanska. “Another inspiration, of course, is ballet. Since childhood, ballet has been a special art form to me. And also, old movies. I often revisit old films, such as those by Michelangelo Antonioni and Luchino Visconti.” The musicality between gesture and dialogue is what drew Lanska to filmmaking. She trained at London Film Academy and London Institute of Photography, and draws on her experiences living in Paris, Abu Dhabi and Tel Aviv, as well as her upbringing in Moscow. Influenced by classic Italian filmmakers such as Fellini and Antonioni, 24
film Little French Fish, 2020) and transcending stereotypes (documentary The Abraham Accords Change History: Women in the Middle East, 2021). Forbes interviewed her as “one to watch” in 2020 and she’s received awards or nominations from over thirty film festivals. Her upcoming feature film I Am Not an Actress, based on the life of Brigitte Bardot, is signed with NoW Films.
Festival Circuit | SXSW World Premiere: The Return of Tanya Tucker – By Nicole Goesseringer Muj Featuring Brandi Carlile What better way to start off my SXSW online screenings than with the world premiere of the documentary The Return of Tanya Tucker – Featuring Brandi Carlile?
Trailblazing, country music legend Tanya Tucker defied the standards of how a woman in country music was supposed to behave. After the death of her parents over 17 years ago, Tucker basically quit the music business. Then rising Americana music star Brandi Carlile waltzes into her life. Decades after Tucker slipped from the spotlight, Carlile took it upon herself to write an entire album for her hero’s extraordinary life, spurring the greatest comeback in country music history. Taking stock of the past while remaining vitally alive in the present and keeping an eye on the future, the documentary explores an unexpected
friendship built on the joy of a perfectly timed creative collaboration. The film culminates with Tucker receiving multiple nominations and awards for Best Country Song (Bring My Flowers Now) and Best Country Album (While I’m Livin’) at the 2020 Grammys, something the icon herself couldn’t have imagined. After watching today’s reality shows, which are far from reality, director Kathlyn Horan captures a genuine picture of who Tucker really is – her insecurities, feelings about her early career, the music business, and her love for Elvis. The film ends with Tucker taking the stage at the Grand Ole Opry. A triumphant comeback story!
Director: Kathlyn Horan Producers: Kathlyn Horan, Julie Goldman, Christopher Clements, Carolyn Hepburn Cinematographer: Jessica Young Editor: Brady Hammes Music: Brandi Carlile US Sales: Submarine TRT: 108 mins 25
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