What Story Lives in You?

As published on LinkedIn Influencers on January 18th, 2018.

Every year around this time, I pound the vitamins, enable my email’s auto reply, and mentally prepare myself for the fact that I won’t be getting a good night’s sleep for the next two weeks. I do this because every year, the last two weeks of January are completely taken over by the Sundance Film Festival. From opening night to the closing awards show and party, Sundance is 11 days of films, events, panels, and parties, and this year will be no different. Or maybe it will be?

This is the first Sundance in a post-Harvey Weinstein era. This is the first Sundance since the sexual harassment and abuse scandal that has rocked Hollywood since last fall, and this is the first Sundance since the tide of change has swept through the entire industry. This is a topic that will be sure to dominate conversations, panels, and Q&As, and on Saturday, January 20th, a Respect Rally will be held in Park City to commemorate the one year anniversary of the Women’s Marches and last year’s March on Main (disclosure: I am a sponsor of the Respect Rally). It has also resulted in changes such as a very visible and thoughtful policy around code of conduct. The Sundance Institute is proudly partnering with the Utah Attorney General’s office to provide a 24 hotline to report code violations.

The theme of Sundance this year is the relationship between the storyteller and the audience. If this past year has taught us anything, it’s that stories matter now more than ever, but even more important than the story is that the story gets heard and absorbed. Or in this case, seen. Women and men have been telling their stories of abuse and misconduct for decades, but often through secret channels and whisper networks out of fear of retribution. Allegations of sexual harassment and assault are sadly nothing new, but what’s changed in the past several months is that people are finally ready to listen to these stories, to believe these stories, and finally, FINALLY, we are ready to do something about them. Stories matter, but so does the audience and how these stories are received, and I look forward to delving deeper into this issue over the coming days of the festival and beyond.

The destiny of the world is determined less by battles lost and won than by the stories we come to love and believe in. – H. Goddard.

Now on to the festival…

This year’s festival is featuring 238 works altogether, including 122 feature films and 69 short films. Altogether, the Sundance Institute received over 13,000 submissions for the 2018 festival, and I can’t wait to see what made the cut. In addition to these films, an entirely new category is debuting for indie episodic work, which is a testament to the growing presence of this medium. While this content has previously been screened at Sundance as featured programming, episodic work is now being recognized as the force it truly is with its own section within the festival. Sundance is also debuting two new awards, including the Festival Favorite to be determined by audience ballot across all screenings of all feature films, and the NEXT Innovator Award that will be presented by RuPaul. There’s also a brand new theatre, incredible works and technology to discover in the New Frontier VR and AR section, and with over 46 countries represented, this year’s festival is truly an international affair.

It is also a year of increased representation for women. Earlier this month at the Golden Globes, Natalie Portman made a point of recognizing that yet again the nominees for Best Director were all male, despite the fact that Greta Gerwig’s Lady Bird won one of the top awards of the night as the Best Comedy or Musical. In a far cry from Hollywood, where only 4% of the directors of the top grossing films of the past 11 years were women, 42% of all features and shorts that are to be screened at Sundance this year are directed by women (37% of features and 51% of shorts). This represents a 4% increase in female directors of features over 2017, and a 3% overall increase in female directors. One can only hope that those numbers will continue to go up in the years to come.

As I look over my schedule for the next 11 days, I can’t help but feel equal parts exhilarated and exhausted, and I wouldn’t have it any other way. You can follow the conversation online with #Sundance2018 and follow my adventures at @JackiZehner on Twitter. Below are a list of some of the films I’ll be seeing over the coming days, with descriptions pulled from the festival program. New this year are Meet the Artist videos on many of the pages, but you can also find them on Youtube HERE. If you’re in Park City happy festing! And if not, I’ll be back after the festival is over with my best of the fest of films to look out for in cinemas in the coming months.

Blindspotting – Collin is trying to make it through his final days of probation for an infamous arrest he can’t wait to put behind him. Always by his side is his fast-talking childhood bestie, Miles, who has a knack for finding trouble. They grew up together in the notoriously rough Oakland, a.k.a. “The Town,” which has become the new trendy place to live in the rapidly gentrifying Bay Area. But when Collin’s chance for a fresh start is interrupted by a life-changing missed curfew, his friendship with Miles is forced out of its comfortable buddy-comedy existence, and the Bay boys are set on a spiraling collision course with each other. Exploding with energy, style, and raw emotion, Blindspotting unravels today’s intersection of race and class with urgent and poetic justice. This is the opening night film tonight!

Private Life – Rachel (Kathryn Hahn) and Richard (Paul Giamatti) have been repeatedly trying to get pregnant, undergoing multiple fertility treatments while also exploring adoption and other options. As they hit obstacles and face up to the reality of their chances, their strained marriage seems to be further than ever from completing the elusive path to parenthood.

Monsters and Men – One night, in front of a bodega in Brooklyn’s Bed–Stuy neighborhood, Manny Ortega witnesses a white police officer wrongfully gun down a neighborhood street hustler, and Manny films the incident on his phone. Now he’s faced with a dilemma: release the video and bring unwanted exposure to himself and his family, or keep the video private and be complicit in the injustice?

Juliet, Naked – Annie is stuck in a long-term relationship with Duncan—an obsessive fan of obscure rocker Tucker Crowe. Duncan is far more devoted to his music idol than to Annie. When the acoustic demo of Tucker’s hit record from 25 years ago surfaces, it leads to a life-changing encounter between Annie and the elusive rocker himself.

Eighth Grade – Eighth-grader Kayla Day always has her phone in hand, hoping to find connections online that might make up for those she’s unable to forge in everyday life. She makes YouTube videos aimed at other adolescents dealing with similar issues—feelings of isolation, anxiety, and invisibility—but after so easily summoning this wisdom and confidence when addressing her (barely existent) audience, Kayla finds it paralyzingly difficult to apply in real situations. In the final week of a thus-far-disastrous school year—and with high school looming on the horizon—Kayla struggles to bridge the gap between how she perceives herself and who she believes she should be.

The Tale – Jennifer, a globetrotting journalist and professor, lives an enviable life with her boyfriend in New York City. That is, until her mother finds a story Jennifer wrote at age 13 depicting a “special” relationship with two adult coaches. Reading the yellowed pages of “The Tale,” Jennifer discovers the coded details she composed 40 years earlier are quite unlike her recollection. Deeply shaken yet determined to square her version of events with the truth, Jennifer sets out to find her two coaches. Returning to the Carolina horse farm where so much transpired, Jennifer’s gangly yet tenacious seventh-grade self reawakens, and the loving stories she told herself for decades begin to unravel.

Leave No Trace – For years Will and his teenage daughter, Tom, have lived off the grid, blissfully undetected by authorities in a vast nature reserve on the edge of Portland, Oregon. When a chance encounter blows their cover, they’re removed from their camp and put into the charge of social services. Struggling to adapt to their new surroundings, Will and Tom set off on a perilous journey back to the wilderness, where they are finally forced to confront conflicting desires—a longing for community versus a fierce need to live apart.

I Think We’re Alone Now – Del (Peter Dinklage) is alone in the world. Literally. After the human race is wiped out, he lives in a small, empty town, methodically going from house to house, collecting batteries and other useful items, and burying the dead. He dines alone, reads, watches movies, and shelves books in the local library he’s made his home. He’s content in his solitude—until he discovers Grace (Elle Fanning), an interloper on his quiet earth. Her history and motives are obscure, and worse yet, she wants to stay.

Inventing Tomorrow – Indonesia, India, Mexico, Hawaii, and many other countries, communities, and islands are rife with the ravages of environmental degradation. But hope comes with a surprising—and touching—group of young people. Meet six brilliant high school students as they prepare for the world’s largest high school science competition: the Intel International Science and Engineering Fair (ISEF). Inspired by the issues and problems they’ve witnessed in their own communities, these teens propose big ideas and ingenious solutions to the world’s environmental challenges. With unfettered minds and ambition, they descend upon Los Angeles to participate in ISEF and meet thousands of their peers from all over the world. Soon, a sense of global community forms, focused on making the world a better place.

Come Sunday – Every Sunday, Bishop Carlton Pearson—evangelical megastar, brilliant orator, and television host with millions of followers—preaches the fundamentalist gospel to six thousand supplicants at his Higher Dimensions Church. He’s the pride and joy of his spiritual father, Oral Roberts, and the toast of Tulsa. One day, rattled by an uncle’s suicide and distraught by reports of the Rwandan Genocide, Pearson receives an epiphany. Suddenly it’s crystal clear—God loves all humankind; everyone is already saved, whether Christian or not; and there is no hell. But these ideas are heretical, violating sacrosanct doctrines.

Monster – Steve Harmon, a bright, sensitive 17-year-old, stands trial for acting as a lookout during the lethal armed robbery of a Harlem bodega. Before his arrest, he was an honors student and aspiring filmmaker taking street-level snapshots and on-the-fly footage of neighborhood life. Now, Steve is seen as just another young black criminal, assumed guilty and labeled a monster. But Steve and his lawyer declare his innocence and attempt to defy the odds in a bid to win his freedom.

Beirut – Mason Skiles (Jon Hamm), a top U.S. diplomat, left Lebanon in the 1970s after a tragic incident. Ten years later, the CIA calls him back to a war-torn Beirut with a mission only he can accomplish. Meanwhile, a CIA field agent who is working undercover at the American embassy is tasked with keeping Skiles alive and ensuring that the mission is a success. Without knowing who is on his side and with lives on the line, Skiles must outmaneuver everyone to expose the truth.

Burden – Mike Burden (Garrett Hedlund) is a taciturn repo man rising through the ranks of the Ku Klux Klan in small-town South Carolina, 1996. Orphaned as a child, he is fiercely loyal to local Klan leader and toxic father figure Tom Griffin (a terrifying Tom Wilkinson). But Burden has a change of heart when he falls for Judy (Andrea Riseborough), a single mother who stirs his social conscience. His violent break from the Klan sends him into the open arms of Reverend Kennedy (Forest Whitaker), an idealistic African American preacher, who offers him safety and a shot at redemption.

Damsel – It’s a classic tale of the Old West: Samuel Alabaster is a man searching for his true love. Parson Henry is another, much drunker man, searching for a new start. Penelope is a woman who has found her own path. And Rufus Cornell is just a mean bastard with a taste for buckskin. There’s rotgut, rawhide, rootin’, tootin’, and hootin’. Plus, a little tiny horse.

A Kid Like Jake – Loving parents Alex (Claire Danes) and Greg (Jim Parsons) are faced with the daunting task of applying to private kindergartens in NYC for their 4-year-old, Jake. Competing in this cutthroat environment means focusing on what is most unique about a child, forcing Alex and Greg to consider Jake’s love of dresses, fairy tales, and princesses. These qualities never seemed unusual before, but when Jake begins to act out in preschool, Alex and Greg—suddenly at odds—must find a way to support Jake’s identity without losing each other in the process.

Sorry to Bother You – Cassius Green (Lakeith Stanfield), a 30-something black telemarketer with self-esteem issues, discovers a magical selling power living inside of him. Suddenly he’s rising up the ranks to the elite team of his company, which sells heinous products and services. The upswing in Cassius’s career raises serious red flags with his brilliant girlfriend, Detroit (Tessa Thompson), a sign-twirling gallery artist who is secretly a part of a Banksy-style collective called Left Eye. But the unimaginable hits the fan when Cassius meets the company’s cocaine-snorting, orgy-hosting, obnoxious, and relentlessly optimistic CEO, Steve Lift (Armie Hammer).

Three Identical Strangers – New York, 1980: Three complete strangers—Bobby Shafran, Eddy Galland, and David Kellman—make the astounding discovery that they are identical triplets. Separated at birth, adopted, and raised by three different families, the 19-year-olds are reunited by chance. Their story sets the tabloids on fire, and the triplets suddenly become famous around the world.

What They Had – During a bout of dementia, Ruth (Blythe Danner) gets out of bed at night and wanders off into a blizzard. Ruth’s brief disappearance triggers the homecoming of her daughter Bridget (Hilary Swank) and teenage granddaughter Emma (Taissa Farmiga). The episode also renews lifelong tensions between stubborn patriarch Burt (Robert Forster) and estranged son Nicky (Michael Shannon). As they all debate placing Ruth into a memory-care facility, family ties begin to fray, rekindling a rivalry between the adult siblings.

Generation Wealth – Over the past 25 years, Lauren Greenfield’s documentary photography and film projects have explored youth culture, gender, body image, and affluence. In this fascinating meld of career retrospective and film essay, Greenfield offers a meditation on her extensive body of work, structuring it through the lens of materialism and its increasing sway on culture and society in America and throughout the world. Underscoring the ever-increasing gap between the haves and the have-nots, her portraits reveal a focus on cultivating image over substance, where subjects unable to attain actual wealth instead settle for its trappings, no matter their ability to pay for it. I know Lauren personally and she is an incredible person and filmmaker. Amongst her many film credits she also did the game changing video, LIKE A GIRL.

NANCY – Nancy is a 35-year-old temp living with her mom and cat in a modest home in a modest town. She is also an aspiring writer whose submissions are consistently rejected by the likes of the Atlantic and the Paris Review. To make up for these failures and the invisibility she feels, Nancy spins elaborate lies and hoaxes under pseudonyms on the internet. When she encounters a couple whose 5-year-old daughter went missing 30 years ago, fact and fiction begin to blur in Nancy’s mind, and she becomes increasingly convinced these strangers are her real parents.

Loveling – Irene is raising four rambunctious sons in a home that is physically crumbling but warm and happy. As Irene simultaneously shelters her sister Sonia (who just left a volatile marriage), supports her own husband through a financial crisis, and plans her own long-awaited high school graduation, Irene’s eldest son, Fernando, suddenly announces he has been recruited by a professional handball team in Germany and will be leaving in just three weeks. Consummate caretaker Irene prickles at the idea of emancipating the 16-year-old so he can travel and live alone, and she becomes increasingly anxious about what her future holds.

Seeing Allred – As described in the film guide, to some, Gloria Allred is a money-grubbing, shrill feminist prone to tawdry theatrics; to others she’s the most effective and fearless women’s rights attorney in America. In this intimate, warts-and-all documentary, one thing is certain: Allred’s 40-year devotion to asserting, protecting, and expanding the rights of women is unwavering and her influence unassailable. She is also scheduled to speak at the the rally.

Lizzie – 1892: Headstrong Lizzie Borden lives with her wealthy father, stepmother, and sister in Fall River, Massachusetts. Lizzie lovingly tends to her pet pigeons and is occasionally allowed out of her dimly lit, foreboding house, but otherwise lives under strict rules set by her domineering father. When her family hires live-in maid Bridget, an uneducated Irish immigrant, the two find kindred spirits in one another. Their friendship begins with covert communication and companionship that blossoms into an intimate relationship. Meanwhile, tension builds in the Borden household, and Lizzie’s claustrophobic existence becomes increasingly more oppressive and abusive, leading to its inevitable breaking point.

Hearts Beat Loud – As single dad Frank (Nick Offerman) prepares to send hardworking daughter Sam (Kiersey Clemons) off to UCLA pre-med, he also reluctantly realizes he has to accept that his own record-store business is failing. Hoping to stay connected with his daughter through their shared love of music, he urges her to turn their weekly “jam sesh” into an actual band. Channeling Sam’s resistance into a band name, they unexpectedly find We’re Not a Band’s first song turning into a minor Spotify hit, and they use their songwriting efforts to work through their feelings about the life changes each of them faces.

The Long Dumb Road – Not far down the highway from his childhood home in Texas, Nathan’s car breaks down on the drive to his freshman year of art school in Los Angeles. Richard, a local mechanic, agrees to fix the car as long as Nathan helps Richard escape his bastard of a boss. On the way out of town, Richard pounds a road beer or three, sparks a joint, and begins to question why young Nathan is lacking a clear philosophy about the rest of his life. As they venture on, these two strangers will battle through bar fights, heartache, and many more unfortunate detours to make it to their next destinations in life. This is a film that I am personally invested in through the film Fund Gamechanger.

On Her Shoulders – Mobbed by iPhone cameras and pushy reporters, 23-year-old Nadia Murad leads a harrowing but vital crusade: to find the most influential platforms in the world and speak out on behalf of the embattled Yazidi community who face mass extermination by ISIS militants. Having narrowly escaped with her own life, Nadia must now relentlessly recount on radio shows, at rallies, and even on the floor of the United Nation’s general assembly her ordeal as a Yazidi sex slave and witness to her family’s brutal killings. Though excruciating, she forces herself to revisit these realities again and again. For without her testimony, the genocide happening right in front of the world’s eyes might go completely unnoticed.

The Golden Moment

As published in LinkedIn Influencers on January 8th, 2018.

Hollywood is a big business. Film, television, content creation, and distribution are all big business. We are talking hundreds of billions of dollars. The Golden Globes is the annual kick off to awards season, where Hollywood repeatedly celebrates the best of the year, and make no mistake, it is a big deal. I, like many others, was watching last night with curiosity and hope that it would be different this year. That the personal would turn political. And not in a little way, but in a big way. I was not disappointed.

Before going into some of the highlights of the evening, imagine this. Imagine the biggest event possible in YOUR industry. Imagine all of the CEOs of all the major companies are present, imagine the best performers in each of those companies are also present, and imagine a room that is full of people deemed to be the most powerful in the entire industry. I will do it for my old industry; finance.

Front row would be the CEOS of all the major financial institutions; men like Lloyd Blankfein of Goldman Sachs, Brian Moynihan of Bank of America, Jamie Dimon of JP Morgan Chase, and Michael Corbat of Citigroup. And of course the hedge fund managers would be there; Ray Dalio of Bridgewater, Emmanual Roman of Pimco, and Stephen A. Schwarzman of the Blackstone Group. And finally, we would have to imagine that women and people of color where there too. In large numbers. Let’s imagine all the categories; Woman bond trade of the year. Male bond trader of the year. Best overall hedge fund manager. Best overall firm. You get the picture. And imagine that on this night, presenter after presenter, award winner after award winner, took a moment, or in last night’s case, many moments, to speak about the desperate need for the industry to change. Imagine that time and time again the culture of exclusion and harassment was acknowledged, and then it was demanded that this was the moment for it all to change. That is how big last night was for the entertainment industry.

“Good evening ladies and remaining gentlemen.”

The evening kicked off with Seth Meyers acknowledging the events of the past several months in his opening line. In a nearly note perfect opening monologue, he set the stage for what ultimately became a simultaneously powerful and entertaining evening, all while acknowledging the difficult balancing act the evening would, and rightly should be. But most importantly, he proved that the night would not be one where people would skirt around the problem, but rather that they were going to face it head on. People like Harvey Weinstein, Kevin Spacey, and Woody Allen were all name checked, and it was made perfectly clear that they no longer had a place at the table.

This continued with the award winners. Nicole Kidman won the first award of the night for her role in HBO’s Big Little Lies, which she also produced, and she used to her time at the podium to herald her female co-stars, pay tribute to her mom, and give a nod to the power of women. And it went on from there. Laura DernElisabeth MossAllison Janney, and Frances McDormand all used their time at the microphone to denounce a culture and society that marginalizes groups of people, and history was made when Sterling K. Brown became the first black man to win the Best Actor in a TV Drama award. He acknowledged creator Dan Fogelman in his acceptance speech, thanking him for writing a role that could only be played by a black man, and for allowing him to be recognized and seen as he is. It was a powerful night all around.

This trend was continued in the non-acting categories, as time and time again, films and television shows that celebrate women, empowerment, and complex female characters were rewarded. From films like Lady BirdI, Tonya, and Three Billboards Outside Ebbing, Missouri, and series like The Handmaid’s TaleBig Little Lies, and The Marvelous Mrs. Maisel won the major awards of the night, the theme of the evening was very much that women’s stories are important, profitable, and here to stay.

But it wasn’t just the winners. Presenters throughout the night used their time on stage to joke about, yes, but also to bring attention to the many issues of inequality that still plague the entertainment industry. From the wage gap (Jessica Chastain), to the lack of female directors (Natalie Portman with one of the best zingers of the night), the women of Hollywood made it very clear that the culture of discrimination no longer has any place in this industry. In particular, my heart did a little happy dance when Thelma and Louise themselves, Susan Sarandon and Geena Davis, took to the stage to present, and they did not disappoint.

There are so many things to talk about from last night, from the sea of all black as both women and men eschewed the usual rainbow explosion that is often Golden Globe fashion, and instead wore black in solidarity with the victims of sexual harassment and abuse, to several of Hollywood’s biggest stars bringing well known activists as their guests, including Tarana Burke, the founder of the #MeToo movement. More importantly, many speakers, presenters, and award winners took the time to acknowledge that this is not just a problem that plagues Hollywood. This is a problem that spans all industries and cultures, and it is time for this problem to end. Earlier this year, a new initiative that was inspired by #MeToo was announced called Times Up. This initiative is a call to action to end the culture of shame and silence across all industries, and is an advocacy group calling for the end of sexual harassment and abuse. Finally, The Times Up Legal Defense Fund will provide financial assistance to women and men who have experienced sexual harassment and/or abuse in the workplace. To visit their GoFundMe page, please click HERE.

But even with all of the above, last night truly belonged to one woman. Oprah. In receiving the prestigious Cecil B. DeMille award, the first black woman to do so, Oprah delivered a fiery and impassioned speech that some have interpreted as her opening bid for the White House in 2020. It was a beautiful, big, and bold, and I simply cannot do it justice. Please take a moment and watch it below.

Wow. Can we all just agree that Oprah should be President of the World?

In my end of year post, I wrote about a power shift. I wrote about the crumbling of the patriarchal matrix that is the world we live in today, and last night on the Golden Globes, we witnessed that happening in front of our eyes. This shift is about power with, not power over. It is about the idea of the we being bigger than the me. It is about talent, about inclusion, about fairness, about justice, and it is about respect. And if you are not happy about all that happened last night, if you are not feeling joyful and hopeful and excited that change is finally happening, then perhaps this quote applies to you. “When you are accustomed to privilege, equality feels like oppression.” Well, to quote Oprah, “A new day is on the horizon”, and for once, it doesn’t feel like the dawning of this new day is an unattainable goal. It is within sight, and it is glorious to behold.

Big thanks to Laura Moore for partnering with me on this piece.

FROZEN Breaks Records and Cracks the Hollywood Glass Ceiling

FrozenPublished on LinkedIn Influencers on April 1st, 2014

This past weekend, Disney’s animated hit Frozen passed a historic landmark. Not only has Frozen become Walt Disney Animation Studio’s first billion dollar movie, but Frozen surpassed Pixar’s Toy Story 3 to become the highest grossing animated film of all time. Frozen currently sits in the top 10 highest grossing films worldwide, and with co-director Jennifer Lee at the helm, Frozen is also the highest grossing film with a woman director, and the highest grossing film to feature not one, but two female leads.

However, that’s not all Frozen has achieved, because this film is not just a hit, it’s become a pop culture phenomenon. The internet is filled with covers of its ubiquitous smash hit song, “Let it Go”, fan art abounds on social media, as does fan fiction, Youtube videos, and blogs dissecting every moment of every scene. The film has won Oscars, Annies, a BAFTA and Golden Globe award, and both the DVD and soundtrack have sold millions of copies. Frozen has struck a very powerful and vocal chord with audiences, and everyone; girls, boys, men, and women, are voicing their love for this film in ever increasingly creative ways.

Even more impressive is the fact that Frozen is not just an anomaly regarding women in film, but in fact was released in one of the best years for women onscreen in decades. 2013 will be remembered as the year that Catching Fire was the top grossing film domestically, the first time since records were kept that a film with a sole female lead took this honor. This was also the year that Gravity shattered box office records with its release in October, and over the Thanksgiving weekend, both Frozen and Catching Fire burned up the box office, bringing in record revenues. 2013 was the year that three films with female leads were in the top ten highest grossing films domestically, with another two (Despicable Me 2 and Oz the Great and Powerful) featuring a male lead surrounded by women and girls. However, as impressive as these numbers are, my hope for 2013’s legacy is that people finally realize how important the intent behind their tickets can be.

The fact is, despite the success of 2013, the situation in Hollywood regarding women both onscreen and off is still far from perfect. Even when the top grossing film of the year features a female lead, Hollywood still considers these films to be risky and a niche market. Behind the camera, women make up 50% of all film school graduates, but only 18% of the directors whose films screened at festivals between August 2011 and August 2012, 13.5% of the members of the Directors Guild of America, and 7% of the directors of the Top 250 grossing films between 2009-2012. I could throw plenty more statistics at you, but a picture is worth a thousand words, and this info graphic from the New York Film Academy sums up the situation pretty succinctly. It’s also pretty depressing.

However, if people were to realize the power they wield in simply going to the movies, then change can happen. By supporting women directed or women centered films, you are sending the message that women’s voices and stories are a viable business and worth putting on the big screen. By rejecting misogynistic and sexist films, you are sending the message that the discrimination and objectification of women on screen will no longer be tolerated. The truth is money talks, especially in Hollywood, and it is my hope that going forward, 2014 will be remembered as the year a critical mass of moviegoers realized that the price on their ticket stub is so much more than a simple number.

For more information on the status of women and film, please check out these incredible organizations and studies:

Sundance Institute – Exploring the Barriers and Opportunities for Independent Women Filmmakers

Geena Davis Institute on Gender in Media – Gender Disparity On Screen and Behind the Camera In Family Films

Center for the Study of Women in Television and Film – On-Screen Representations of Female Characters in the Top 100 Films of 2013

Women in Film

Women and Hollywood

Jacki Zehner and Laura Moore