We spoke with him about filmmaking, finding his audience, and what’s next.

When did you first realize you wanted to be a filmmaker?

I got interested in filmmaking around 2014, when YouTube creators were really starting to take off. Seeing young people making videos and building careers from them inspired me. I started doing media work at my family’s church, handling cameras and visuals, and that gave me my first hands-on experience.

I went to high school at the Academy for Careers in Television and Film in Long Island City. That gave me a foundation in filmmaking.

What was your experience like in the film program here? 

It definitely shaped me. This program is very rooted in traditional filmmaking, which is not my style. Honestly, as a Black filmmaker with a very different style and perspective, there were moments when people didn’t fully understand what I was trying to do.

At the same time, there were some key people in the department who always encouraged me to pursue my vision. There were a lot of experiences that taught me independence, in a good way. I learned how to trust my own voice and move forward even when not everyone saw the vision. That’s a lesson I’ll carry for the rest of my career.

Who were the key people who had a particularly positive impact on you?

[Professor] Mustapha Khan and Judith Kenny ’13, [the department’s director of academic affairs and operations], were huge influences.

Professor Khan immediately understood what I was trying to accomplish with Almond Avenue. He told me, “This seems exactly like you,” and he encouraged me to lean into the project.

Judith helped me think about my motivations as an artist. She challenged me to create from a place of purpose rather than simply trying to prove people wrong. That advice really stuck with me.

Tell us about Almond Avenue. Where did the idea come from?

The concept started with an old Dave Chappelle joke about how strange Sesame Street would be if it were an actual neighborhood. I heard it years ago and couldn’t stop thinking about it.

Eventually, I developed my own version of that idea. In my world, familiar archetypes become exaggerated adult characters. It’s a comedy, but it’s also a commentary on the environments and personalities we encounter in everyday life.

You produced the project independently. How did you make it happen?

Very carefully and very cheaply.

My sister works in production. She helped me think through the logistics. My former high school also loaned me equipment for much of the shoot, which was a huge help.

I own a photography and videography business, so I used money from that to purchase my own camera, sound equipment, and editing setup. In total, the project cost about $700 to produce. I’ve since made that money back through merchandise sales connected to the project, which was amazing.

How have audiences responded?

Better than I could have imagined.

I’ve screened the film several times in front of completely different audiences, including at ������Ƶ, at my high school, and in the community. The reactions have been very positive. People laugh, engage with the characters, and want to know what happens next.

The first public screening was especially emotional for me. Honestly, it felt more like my graduation than graduation itself. Seeing people connect with something that started as an idea in my head was surreal.

What’s next for Almond Avenue?

Right now, is out, and I’m working on Episode 2. The long-term plan is six episodes, although I’d love for a studio or production company to become interested before then.

I’m also using social media heavily, releasing short commercials, skits, and promotional content between episodes. That strategy has helped me build an audience and keep people engaged with the world of the show.

I’ve been talking to a lot of people in the industry, too. The actor who plays the main character in the show happened to be at an event with [actor and comedian] Craig Robinson. He ended up introducing me to him. I gave him my 30-second quick pitch, and he put me in touch with his agent at 3 Arts Entertainment, which is a huge player in the industry. So, we’re in talks. I’m not saying they’re going to pick it up, but they’re looking at it, which is very exciting for me.

That’s huge! Good luck. What are your ultimate goals as a filmmaker?

I want to be an independent filmmaker with real recognition and impact.

I admire creators who have built their own platforms rather than waiting for someone to give them permission. That’s the path I’m trying to follow. Whether I’m making films, creating new stories, or mentoring future artists, storytelling will always be at the center of what I do.

At the end of the day, I want to create work that connects with people. That’s the goal.

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At the center of this year’s conversation is Alexandra Juhasz, an acclaimed filmmaker, scholar, video activist, and Distinguished Professor of Film at ������Ƶ. A pioneering voice in queer media studies and independent filmmaking, Juhasz has spent decades exploring how film can document, preserve, and amplify marginalized voices. Known for her influential work on The Watermelon Woman,��widely recognized as the first feature film written and directed by a Black lesbian and a landmark of Black queer cinema,��Juhasz brings both scholarly insight and personal experience to a discussion on the importance of queer narratives in film.

As part of the showcase, Juhasz shares I Want to Leave a Legacy, a deeply personal documentary created with her late friend Juanita Mohammed Szczepanski. The film is a moving reflection on friendship, AIDS-era activism, and the enduring importance of community memory. Through intimate storytelling, it demonstrates how film can preserve histories that might otherwise be lost and ensure that future generations remain connected to the struggles, resilience, and achievements of queer communities.

Joining Juhasz in the conversation are two accomplished CUNY filmmakers whose work highlights the diversity and creativity of queer experiences.

Samantha Alvarez, an award-winning filmmaker and painter and a two-time graduate of City College of New York (CUNY), returns to Frame by Frame as a featured filmmaker for the second time. A fellow of the Bronx Documentary Center Films Fellowship, N������ƵU Academy Fellowship, and Third World Newsreel Workshop, Alvarez earned widespread recognition for her experimental documentary In the Body, which received six awards, including the 2022 Outstanding Female Content Creator Award from New York Women in Film & Television. Her work explores family healing and intergenerational trauma while pushing the boundaries of documentary filmmaking.

Also featured is Eden Martinez, a Nuyorican queer filmmaker whose work centers women, LGBTQ+ communities, and people of color through a joyful and visually rich lens. Martinez’s film In & Out examines themes of identity, vulnerability, and intersectionality, celebrating the complexity and beauty of underrepresented experiences.

You can watch the full showcase on CUNY TV and on YouTube from June 5 to July 2. Featured films include In & Out,��Cutting Room Floor #1, Make a Declaration, Voces Transcendentes, Candy’s Sun, Las Olas, NY Counterpoint, In the Body, I Want to Leave a Legacy,��and The Animal in You.

More information, including the schedule, is available .

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Spanning disciplines from business and computer science to the arts and education, the projects reflect a campus-wide commitment to preparing students for a rapidly evolving, AI-driven world. Funded initiatives extend across the Koppelman School of Business as well as programs in English, film, art, mathematics, education, academic affairs, and Student Affairs.

Integrating AI Into Business Education

Several faculty from the Koppelman School of Business are launching an interdisciplinary capstone course titled “The Integrated Edge: AI, Decision-Making, and Business Strategy.” The course will pilot in summer 2026.

The course addresses a long-standing challenge in business education: the “silo effect,” in which accounting, finance, economics, and management are often taught separately. The Integrated Edge instead requires students to apply all four disciplines simultaneously to analyze complex business problems—mirroring how decisions are made in real organizations.

Students will gain hands-on experience with professional AI platforms used in industry, including tools for forecasting, auditing, and financial analysis. The course also emphasizes a “human-in-the-loop” approach, teaching students to critically evaluate AI-generated outputs, identify potential biases or errors, and apply professional judgment.

Structured in four modules—economic forecasting, led by Professor Merih Uctum; AI-assisted auditing, led by Professor Frimette Kass-Shraibman; corporate finance, led by Professor Sunil Mohanty; and strategic integration, led by PI and Professor Carol Connell—the course culminates in a capstone project in which students analyze a real company using both traditional business frameworks and AI-supported insights.

By combining interdisciplinary thinking with responsible AI use, The Integrated Edge aims to equip students with the analytical, technological, and ethical skills needed for tomorrow’s business leadership.

Koppelman School of Business Interim Dean Myles Bassell is leading nearly 400 students from the Koppelman School of Business in “IBM’s AI Experiential Learning Lab,” a hands-on, 10-week program designed to immerse students in real-world artificial intelligence applications. Through the program, students work in multidisciplinary teams to design and develop AI-driven solutions using IBM’s enterprise technologies, including watsonx. Supported by IBM experts and industry mentors, students move from concept to prototype while tackling authentic business challenges.

Throughout the lab, participants build practical skills in generative and agentic AI, as well as responsible AI design, while producing portfolio-ready projects that enhance their career readiness. By the program’s conclusion, students will have completed AI solutions they can present to employers and will earn IBM-recognized digital credentials to showcase on LinkedIn and resumes. The initiative reflects Koppelman’s commitment to experiential learning, industry collaboration, and preparing students to lead in an AI-driven economy.

Bassell is also spearheading the broader “AI Literacy in Business Education: From Classrooms to Careers” initiative, which is being implemented in phases beginning in Fall 2025 and continuing through Spring 2026, with expansion planned for Summer 2026 and beyond. In Fall 2025 alone, Koppelman students completed approximately 700 IBM AI-related certificates, followed by more than 1,000 additional certifications in Spring 2026. These credentials were integrated directly into coursework through collaboration between Bassell and business school faculty.

Students earn certifications through IBM SkillsBuild in areas such as AI Literacy, Artificial Intelligence Fundamentals, Generative AI, Agentic AI applications, Enterprise Design Thinking, and Cybersecurity Fundamentals, among others. Each certification includes a verifiable digital badge, allowing students to clearly demonstrate their AI competencies to prospective employers.

Management, Marketing and Entrepreneurship Associate Professor Ngoc (Cindy) Pham is leading the “The semester-long weekly boot camp is designed to build applied and ethical AI fluency while preparing students for the evolving workforce.

The initiative combines hands-on workshops, industry perspectives, cross-institution collaboration, and digital badge recognition to help students develop both technical confidence and critical thinking skills.

Program highlights include weekly AI boot camps at ������Ƶ, guest speakers and industry experts from IBM and other national AI practitioners, and a joint CUNY–NYU Tandon session hosted at NYU that helped launch a long-term collaboration. Students also take on leadership roles as moderators and event facilitators. Designed for scalability, the model aims to expand across CUNY while maintaining a strong focus on equity, access, and workforce readiness.

Matt Lentz, vice president at Monks and founder of the Enterprise Consulting Practice, speaks at an AI bootcamp hosted by NYU’s Tandon School of Engineering on March 12. The event was a part of the CUNY AI literacy and professional readiness series led by ������Ƶ Associate Professor Ngoc (Cindy) Pham and focused on AI in enterprise consulting. (Top photo) In February, guest lecturer Conor Grennan—CEO of AI Mindset and New York Times bestselling author—headlined a lecture titled, “Artificial Intelligence & the Future of Work” that drew 118 participants.

Expanding AI to Student Support: Addressing Food Insecurity

������Ƶ’s AI initiatives also extend beyond the classroom, applying emerging technologies to one of the most pressing challenges facing students: food insecurity.

Led by Associate Professor of Management, Marketing and Entrepreneurship Laura Rifkin and building on the human-centered work of the campus food pantry staff—including Assistant Director of Student Support Services Nicole Cohen and Student Affairs—this effort will explore how AI can expand access to nutritious food in ways that are both practical and dignified. One approach under consideration is a smart vending system that would serve as an extension of the pantry, offering discreet, flexible access outside of traditional hours. By reducing barriers such as stigma, scheduling conflicts, and transportation challenges, the system could significantly broaden its reach while generating anonymized, real-time data on usage patterns and unmet need.

The initiative also examines how agentic AI can support pantry operations behind the scenes—analyzing trends, anticipating demand, optimizing inventory, and improving coordination of donations and purchasing. Guided by principles of transparency, human oversight, and bias mitigation, the work builds on the college’s strong track record of student-centered support while introducing scalable, data-informed solutions.

The effort comes at a critical moment. Food pantry use has grown fourfold in recent years, reflecting both rising need and the extraordinary commitment of staff working with limited resources. Across CUNY, approximately 110,000 students—about 40% of the system—experience food insecurity, yet only a small percentage access available support, often due to stigma or administrative barriers. By integrating AI thoughtfully into these services, the college aims to close that gap by strengthening student well-being to support academic success.

AI-Supported Professional Preparation for Early Childhood Teachers Working With Dual Language Learners

In the School of Education, Associate Professor Lulu Song is addressing a critical need in early childhood teacher preparation. Her project integrates AI into coursework to support future educators working with dual language learners, a population that represents nearly half of young children in New York State. Through structured assignments, students will use AI tools for research and problem-solving while learning to critically evaluate outputs for accuracy, bias, and credibility.

Additional projects include AI-supported learning studios in mathematics, interdisciplinary minors linking computer science with writing and finance, and research on ethical design and decision-making. Collectively, these initiatives highlight ������Ƶ’s holistic approach to AI—one that blends innovation with responsibility, and technical skills with human insight.

Understanding AI: A Foundational Series for Faculty

Led by Karen Stern-Gabbay, professor of history and director of the Roberta S. Matthews Center for Teaching and Learning, and James T. Eaton, associate dean in the Provost’s Office, this workshop series will bring expert speakers to campus to guide faculty through key topics such as technological disruption, ethics, and curriculum design.

Open to both full- and part-time instructors, the program is designed to build confidence and shared understanding around AI in the classroom.

Faking It: A Global Workshop Series

AI’s cultural and creative implications are also a focus. Distinguished Professor of Film Alexandra Juhasz, in collaboration with filmmaker Nishant Shah, is leading “Faking It,” a global workshop series examining questions of authenticity, knowledge, and human connection in an AI-mediated world. With sessions planned in New York and Hong Kong, the project will explore how emerging technologies reshape storytelling, perception, and social relationships.

You can see all the projects listed here.

• Myles Bassell (Management, Marketing, and Entrepreneurship) – AI Literacy in Business Education: Scaling a Proven Model at the Koppelman School of Business.
• April Bedford (Academic Affairs) – Faculty AI Bootcamp: Developing Critical AI Literacy, Course Policies, and Pedagogical Innovation.
• Hui Chen (Computer and Information Science) – Human-in-the-Loop Just-in-Time AI Auto-Tutoring: A Pilot for CUNY Pathways Courses.
• Carol Connell (Management, Marketing, and Entrepreneurship) – AI, Decision-Making, and Business Strategy Integrated Capstone.
• James Eaton (Academic Affairs) – Understanding AI: A Foundational Series for Faculty.
• Alexandra Juhasz (Film) – Faking It: AI Education and Literacy.
• Devorah Kletenik – (Computer and Information Science) Designing With Ethics: Exploring AI-Enhanced Dark Patterns.
• Swan Kim (English) – Critical AI Literacy for the Public Good: A CUNY-Scalable Ethical Foundations Module Reaching All Incoming Students.
• Sandra Kingan (Mathematics) – AI-Supported Math Foundations Studio.
• Anjali Krishnan (Psychology) – Promoting Responsible AI Use in Skill-Based and Writing-Intensive Courses.
• Jennifer McCoy; Jonathan Zalben (Art, Conservatory of Music) – AI Initiative in the Arts.
• Martha Nadell and Hui Chen (English, Computer and Information Science) – Writing For the Future: An Integrated English/Computer and Information Sciences Minor.
• Hyuna Park and Katherine Chuang (Finance, Computer and Information Science) – Using AI Tools to Create Synergy Between Finance and Computer Science Education.
• Ngoc (Cindy) Pham (Management, Marketing, and Entrepreneurship) – CUNY AI Literacy and Professional Readiness Micro-Credential Series With Global Expert Partners.
• Laura Rifkin (Management, Marketing, and Entrepreneurship) – Addressing Food Insecurities.
• Lulu Song (Early Childhood Education/Art Education) – AI-Supported Professional Preparation for Early Childhood Teachers Working With Dual Language Learners.

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As director of photography, Langlev played a central role in shaping the film’s visual language, crafting imagery that balances the heightened spectacle of a musical with the emotional sensitivity of its subject matter. His work supports the film’s shifting tones, grounding its ambitious form in the lived experiences of its characters.

Run Amok marks the debut feature of writer-director NB Mager and centers on a teenage girl who stages an elaborate musical about the one day her high school wishes it could forget. The film thoughtfully explores the aftermath of a school tragedy, recentering the story on the young people most directly affected.

This is Langlev’s second time participating as a director of photography in a Sundance-selected feature (the first being Alive Inside, Sundance 2014), which underscores the professional excellence of the college’s film faculty and reflects the real-world industry experience he brings into the classroom. His work offers students valuable insight into contemporary cinematography and collaborative filmmaking at the highest level of independent cinema.

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Massood has served as interim dean since July 2024 and will continue working with the SVMPA’s talented staff and faculty. In this role, she will oversee the school’s academic departments—Art; Conservatory of Music; Feirstein Graduate School of Cinema; Film (undergraduate); Performance in Media Arts; Television, Radio & Emerging Media; and Theater. Massood, who has served on the college faculty since 1999, became a full professor in 2019 and was appointed to the Feirstein Graduate School of Cinema.

“Paula’s visionary leadership and profound insight into the evolving role of the arts in higher education—particularly her dedication to amplifying underrepresented voices—make her uniquely qualified to lead SVMPA into its next chapter,” said Provost and Senior Vice President for Academic Affairs April Bedford. “We are excited for the growth, creativity, and innovation her leadership will bring to our dynamic arts community.”

“I’m thrilled to carry forward this important work as we empower the gifted student-artists, performers, and filmmakers who make the School of Visual, Media and Performing Arts a truly dynamic and inspiring community,” Massood said. “With the expertise and dedication of our outstanding faculty, I’m confident we can work together to help our students realize their full potential.”

Bringing a distinguished record of scholarship, leadership, and dedication to the arts, Massood is a noted expert in film studies and visual culture. She has published extensively, including the books Black City Cinema: African American Urban Experiences in Film (2003) and Making a Promised Land: Harlem in 20th-Century Photography and Film (2013), while serving as the editor of The Spike Lee Reader (2007) along with other co-edited collections and journal issues.

She is the past president of the Society for Cinema and Media Studies, the leading scholarly organization for film, media, and visual studies, and has long been committed to fostering academic excellence and interdisciplinary collaboration across CUNY and with other public and private institutions of higher learning.

Her leadership roles include serving as chair of the Department of Film, chair of the Feirstein Graduate School of Cinema, and interim director of the Mellon Mays Undergraduate Fellowship Program at ������Ƶ, as well as acting coordinator of the Certificate in Film and Media Cultures at the CUNY Graduate Center.

Massood earned a B.A. in communications from the University of New Hampshire, an M.A. in cinema studies from New York University, and a Ph.D. with distinction in cinema studies from New York University.

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She brings a unique cultural lens to her storytelling and, in short time, has developed an impressive portfolio that bridges continents and genres. From documenting to capturing , and even working behind the scenes on a Vogue Singapore shoot, Horiuchi’s work reflects a deep curiosity about identity, art, and the unseen forces that shape us.

Her 13-minute senior thesis film, The Visit (see trailer below), is inspired by a Japanese folk tale about mischievous monsters and has captivated film festival juries, earning the 2024 National Board of Review Student Grant Award and Best Student Film at the Jersey Shore Film Festival, along with official selections at the Greenpoint Film Festival and NewFilmmakers NY.

We spoke with Horiuchi about the culture shock she experienced when she moved to Brooklyn, the support she got from her peers and professors, and what she wants you to feel when you watch her work.

What made you want to study in America?

When I was in high school, I already knew that I wanted to study filmmaking. I grew up loving art in general, but gradually, I fell in love with movies. I wanted to go to college in Japan for filmmaking, but there weren’t many film schools. Then I saw a TV program about an American college class where the professor taught filmmaking and film analysis. That made me think that coming to the United States would give me better opportunities, so I chose New York City.

How did you develop your passion for film?

My mom worked for a TV company as a writer, so I was exposed to media early on. Both my parents worked outside the home, so I spent a lot of time by myself. I started watching a lot of movies, including Hollywood films like Christopher Nolan’s work. That’s how my love for filmmaking developed.

I think it was natural for me to fall in love with film. I remember always wanting to be an artist as a child—first a dancer, then a painter. Because both my parents worked outside the home, I spent a lot of time alone watching movies. I fell in love with them, and behind-the-scenes footage made me wonder if I could work with such cool, talented people. Unlike other art forms, filmmaking is collaborative, and that really fascinated me.

What did your parents think about your coming to New York by yourself, and what was the adjustment like?

They were worried but supportive. They both love American culture—music, cinema—so they were excited about the idea of me studying film in New York.

It was my first time living away from my family. The culture was very different, and the diversity was overwhelming. In Japan, people have similar cultural backgrounds, but here, people have very different experiences. That was a big shift.

When I first got here and enrolled at CSI, I lived in a dorm with two great roommates—one from Japan and one from Brooklyn. They became like my family. We had movie nights and went out in Manhattan together.

What were your first impressions of ������Ƶ?

I loved the structure, campus, the diversity, and the welcoming atmosphere. The professors and students in the film program were very supportive. When I made my thesis film, my classmates and crew members were incredibly encouraging. Even when there were gaps in knowledge, no one judged me. They provided constructive feedback and encouraged me to grow. There was a healthy sense of collaboration, not competition.

Your thesis film, The Visit, looks like you’ve been doing this for years. It’s shot so beautifully. Did you have any experience before ������Ƶ?

No, I had zero filmmaking experience before ������Ƶ. I was into illustration and ballet, but I had never used a camera or written narratives before. The structured curriculum really helped me.

While working on it, did you feel like it was going to be special?

What kept me going was my excitement about the project. I wasn’t focused on awards—I just wanted to create something meaningful that would move people.

How did you fund the production?

Just like a lot of other student films, my project was an unpaid opportunity for the crew and cast, while I covered the meals on set. It was part of what pushed me to do a really good job with the film. I wanted to return the favor and give them something they could put in their portfolio. I did win a ������Ƶ Alumni Association Award, which covered submission fees for two festivals.

What was the most valuable lesson you learned here?

To be nice to people. Filmmaking is collaborative—you spend 12-hour days on set. If you’re not kind and reliable, people won’t want to work with you again. The people you meet in college are likely to be your future collaborators in the industry.

What emotions do you try to evoke in your films?

I want to create the feelings I had as a child reading books and watching movies. I love Japanese authors who blend sci-fi, fantasy, and mystery with bittersweet emotions. The Visit falls into that kind of fantastical genre.

It’s a tough industry. Do you think about that?

Yes, filmmaking is unstable, especially as a freelancer. But as long as I don’t stop creating, I’ll be happy. I don’t make films or art to make money—I make them because it brings me joy. My mentor always says, “Keep making something you feel passionate about, and the money will follow eventually.” I believe that’s true.

What would you say to someone considering ������Ƶ for film?

The professors and classmates are incredibly supportive. If you’re serious about filmmaking and want a collaborative environment, ������Ƶ is a great choice.

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As a teen, Daniel Scarpati worked in community theater and hosted a local children’s show. But that wasn’t enough—Scarpati was eager to work in film and television. Once he was accepted to Macaulay Honors College, he leapt at the chance to attend ������Ƶ because of its reputation for its stellar programs in television, radio, and emerging media and film. Scarpati graduated in 2015 and broke into the industry. He currently works as a senior studio technician supporting productions such as Amazon Live and directs documentaries. The recipient of several student awards, he has not forgotten his alma mater or its current students, having returned to campus to give talks about the industry and, significantly, to become a COVID-19 health and safety officer during the pandemic.

Can you tell us about your background?

I proudly come from a family of diverse New Yorkers: My dad is a retired dentist who owned a small family practice in Bensonhurst. My mom is a former Bronx Zoo staffer turned teacher’s assistant. My younger sister attended Queens College (CUNY) and now works upstate at Farm Sanctuary in Watkins Glen. So when I started at ������Ƶ, I was pretty far removed from anything film/TV related. My only background had been performing in community theater productions, hosting an NYC Department of Education kids’ television show, and shooting home movies in my neighbor’s backyard—all of which helped prepare me for the college education I’d be receiving.

What made you choose ������Ƶ?

As soon as I heard the news that I’d been accepted to CUNY Macaulay Honors College, my mind was made up. I chose ������Ƶ as my home campus because of the advanced film and television production tracks. When I toured the campus with my parents while I was in high school, I thought about how the access to professional equipment and the instructors with backgrounds working professionally on set and in the field would accelerate my growth. As a bonus, living in South Queens meant a pretty short commute along the Belt Parkway—or at least that’s what I naïvely thought before experiencing the endless construction along it!

So you knew coming in that you wanted to work in the film and TV industry.

I can’t remember a time when I didn’t want to work in the film/TV industry. I knew that’s where I’d end up before day one of undergraduate school. The exact job I’d be doing was a different story. I considered minoring in computer science as an option, to design software supporting the film/TV industry, but I was sure that wouldn’t be my path when I realized how little I enjoyed staring at lines of code. Instead, I focused on working behind the scenes, operating cameras, lighting, and sound equipment, and directing and managing crew and talent. The truth is, I’m still not sure there’s one title that describes what I do—nor would I want there to be. I enjoy wearing different hats and moving between roles, which has helped me during industry strikes and work slowdowns.

The ������ƵAA Young Alumnus award is not your first award; you received accolades as a student.

As I completed my undergraduate studies, I received a ������ƵAA Student Award, the Senator Martin J. Golden Award for Leadership from the Center for Italian American Studies, and the Outstanding Achievement in Location Sound Recording award at the 2015 ������Ƶ Film Festival. Macaulay Honors College also gave me a Class of 2015 Legacy Award for my efforts to help create new paths for future students to gain experience in the film/TV industry. The nonfiction book I self-published,��,��became a finalist in a few book contests.

How did you break into your field?

Breaking into film/TV without any connections was not, and still isn’t, easy. Even when someone opens a door for you, it only gets you so far. They may open the door to an opportunity where you have to open yet another door for yourself. I started out cold-calling production companies and working as a PA on all sorts of projects—indie films, episodic shows like The Blacklist�����Ի���Manifest,��sitcoms like Kevin Can Wait, and more. I’d always try to work on personal projects in my spare time to keep my creative skills sharp. Lee Quinby, the former ������Ƶ Carol L. Zicklin Honors Academy chair and I have collaborated on many films together. In 2024, we completed our latest feature documentary . Our longtime creative partnership would have never happened had it not been for our time at CUNY together.

What are you working on today?

In addition to my work a senior studio technician on broadcast productions and livestreams, I also work as a freelance video control operator and robotic camera operator. I’m also the director of photography on a few documentary films through my company, Passing Planes Productions LLC.

Have you been back to campus?

One of my new favorite memories is returning to campus to share my book with current students. I wrote Gofers to share the lessons I’d learned on set as a production assistant, aka a “gofer.” Not only have I returned to campus to speak with current students about breaking into the film/TV industry, but I worked in the Film Department as a COVID health and safety officer for three semesters during the pandemic. I was directed by Chair Annette Danto and teamed up with Director of Academic Affairs and Operations Judith Kenny, Distribution Manager Michael Irgang, and fellow graduates to manage safety guidelines and create PPE kits for thesis film students to use on their sets. I was very impressed by the students and their ability to turn a very trying situation into a learning opportunity. It’s not easy to manage safety standards as an undergrad student on your first major production, but they did so with patience, caution, and respect.

What advice would you give to today’s students?

Communication is key! This applies to every industry, every job, every path. If you don’t say what you want, it’s unlikely it will ever happen. If you don’t introduce yourself, you may never make a connection with the person who could open a door for you. And remember that stories take time to unfold—don’t beat yourself up if you’re not where you think you should be. Patience is rewarded when you least expect it.

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The film centers on 30-year-old Ricky, who navigates the challenging realities of life post-incarceration and the complexities of gaining independence

for the first time as an adult. Shari Frilot, an artist, filmmaker, and chief curator of the New Frontier program at the Sundance Film Festival, wrote: “Rashad Frett’s directorial hand overflows with humanity and marks an auspicious feature debut.”

Rashad Frett’s film “Ricky” centers on the challenging realities of life post-incarceration.

Frett is a Spike Lee Film Production fellow, a Ryan Murphy HALF Initiative fellow, a Sundance Feature Film Lab fellow, and a Cary Fukunaga Production fellow. In 2023 he was named one of Filmmaker magazine’s “25 New Faces of Independent Film.”

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Taking first place in the African American category/East Region, Jean & I tells the story of Michelle, a 10-year-old survivor of the 2010 Haiti earthquake who attempts to escape both her past and her new home when she learns that her “new” family is not what they seem.

“The Feirstein community deserves a tip of the hat for helping bring this compelling story to life,” Desir said. “From Professors Ricardo Hernandez Anzola and Jodi Gibson, who provided critique during the writing phase, to Professor Daniel Garcia, who provided thoughtful insight during post-production, their guidance, along with the work of a talented cast and skilled crew of mainly Feirstein students made Jean & I shine. This award recognizes the contributions of each person involved, including that of producers Clairesa Clay [’23 M.F.A.] and Charles Pigott, cinematographer Kusi-Quyllur Del Castillo, and editor Giuseppe de Matteis.”

Writer, producer and director Mirta Desir ’23 M.F.A. (left) and cinematographer Kusi-Quyllur Del Castillo at the Directors Guild of America Student Film Awards.

The crew comprised other Feirstein students and graduates, including Imani Garner ’23 M.F.A. (music supervisor and composer); Karen Chen and Taya Higgs (sound designers and composers); Kevin Fentress ’24 M.F.A. (first assistant camera position); Arsalan Danish ’22 M.F.A. (camera operator and gaffer); H.J. Kim (steadicam operator); Samuel Romero (first assistant camera position); Julia Zanin de Paula ’22 M.F.A. and Rafael Alvarado ’21 M.F.A. (second assistant camera position); Greg Fitton ’22 M.F.A. (electrician); Jack Davis (key grip); Nelli Toth ’23 M.F.A. (grip); Vicente De Paulo, Emeka Chukwurah, and Sasha Podolyanchuck (grip and electric swing); Julie Neira Campoverde (sound mixer); Lin Tzu Yu visual effects supervisor); Hrvoje Budimir Bek (production designer); and Wesley Jean-Pierre and Jorès Phillipe (COVID-19 compliance officers).

Jean & I tells the story of Michelle, a 10-year-old survivor of the 2010 Haiti earthquake.

Jean & I tells the story of Michelle, a 10-year-old survivor of the 2010 Haiti earthquake. Desir is currently in development for her debut feature film, Voudou Child, whose screenplay was the recipient of the Lynn Shelton “Of a Certain Age” Grant. She has earned other prestigious grants and awards for her writing and directing, including the Caucus Foundation Grant and the New York Women in Film & Television Award. Her manuscript, Saving Jude, recently won the Penguin Random House Publishing / WNDB Revisions Workshop grant.

The East Region screenings and ceremony took place at the Directors Guild of America (DGA) Theater in New York on Dec. 18. The awards were established by the DGA’s National Board 30 years ago to address the significant underrepresentation of directors of color and women directors in feature filmmaking.

Jean & I has been submitted to several film festivals. To see where you can see the film, follow on Instagram.

“It’s so exciting and inspiring to see the incredible work on display at the 30th Annual DGA Student Film Awards,” said DGA President Lesli Linka Glatter. “These directors represent the very best of a new generation of filmmakers, and we are proud to showcase their projects. Over the past 30 years, the Student Film Awards has been a launchpad for many incredible directors, including Jon Chu, Rashaad Ernesto Green, Ryan Coogler, Nicole Kassell, and Sylvain White. Their success is a testament to the power of this program and the importance of highlighting the rising stars in our industry.”

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The film tells the stories of four women over a 23-year period in rural southern India and highlights female resiliency and the dignity of labor. Hosted by Macaulay Honors College, the event is co-sponsored by Macaulay ������Ƶ and the Greater New York Fulbright Chapter.

The unique Reverse Gaze screenings illustrate the Fulbright mission, which encourages dialogue between cultures, communicators, and communities.

This in-person event promises an enriching experience for film enthusiasts and cultural explorers alike. Don’t miss out on this opportunity to broaden your horizons through the power of film, culture, and conversation.

You can learn more about the event . The Dec. 3 event is sold out, but you can register for the Dec. 4 screening .

The post Annette Danto’s Documentary to Be Screened by Fulbright Film Series appeared first on ������Ƶ.