10 Great Queer Films to Add to Your Watchlist

By Danielle Earle

It's that time of the year again. Pride Month — a celebration of unity, self-love, identity, and all things Queer — is coming to a close. 

But just because Pride is ending doesn’t mean that we should hit pause on celebrating the LGBTQIA+ community, so I put together a list of ten of my favorite Queer films to watch throughout the year. Whether you are part of the Queer community or want to become a better ally by watching more of the countless stories outside of the heteronormative experience, this list is for you.

Photo by Nate Isaac on Unsplash.

Photo by Nate Isaac on Unsplash.

1. Watermelon Woman (1996) Directed and written by indie veteran Cheryl Dunye, starring herself, Guinevere Turner, and Valarie Walker. It’s considered the first feature film written and directed by a black lesbian. How cool is that? Watermelon Woman tells the story of a queer video store clerk / aspiring documentary director who is working on her passion project about a Black actress in the 1930s known for playing stereotypical “mammy” roles. If you are looking for some light humor and romance in documentary style, definitely check out this film. 

Currently streaming on Fandor, Showtime, Fandor Amazon Channel, Showtime Amazon Channel, fuboTV, DIRECTV, OVID, and Kanopy, which you may be able to use for free using your library card, or if you are a student or professor. 

2. Holding the Man (2015) Directed by Neil Armfield, starring Ryan Corr, Craig Stott, Anthony LaPaglia, Guy Pearce, Geoffrey Rush, Kerry Fox, and Sarah Snook. This movie has it all, and it’s shocking that it was never nominated for an Oscar. It’s Love Story meets The Way We Were. It’s a heartfelt, emotional rollercoaster of a feature film. It’s based on actor Timothy Conigrave’s bestselling memoir “Holding the Man,” about an intimate relationship with his longtime lover and companion John Caleo, which spanned 15 years during the AIDS epidemic. You’re going to need a lot of tissues to get through this movie. 

Currently streaming on Netflix and realeyz. Possible to rent or buy on Apple iTunes, Google Play Movies, Vudu, Amazon Video, and YouTube. 

3. Six Dance Lessons in Six Weeks (2014) Based on a play by Richard Alfieri, directed by    Arthur Allan Seidelman, starring Gena Rowlands, Cheyenne Jackson, Julian Sands, Jacki Weaver, Rita Moreno. It’s a comedy-drama set in South Florida about an older woman who hires a dance instructor to give her private dance lessons at her condo. What begins as a work relationship disaster between Lily (Gena Rowlands) and Michael (Cheyenne Jackson), slowly turns as the art of dancing sways them closer together as friends. The story quickly takes a turn where we discover that both hold a secret. I highly recommend this cute LGBTQ+ comedy for you if you’re in need of a quick pick-me-up. 

Currently streaming on Amazon Prime Video or for free with ads on The Roku Channel, and VUDU Free.  Possible to rent or buy on Apple iTunes, Google Play Movies, Vudu, Amazon Video, YouTube online and to download it on Apple iTunes, Google Play Movies, Vudu, Amazon Video, YouTube.

4. Stage Mother (2020) Written and directed by Thom Fitzgerald, starring Jacki Weaver, Adrian Grenier, Lucy Liu, Mya Taylor, Anthony Skordi, and Allister MacDonald. This film was everything to me. It is definitely a relatable story for chosen mothers and their loved ones. In the queer community, the bonds of chosen families are so unique and heartwarming. After a Texas church choir director inherits her son’s drag queen Club in San Francisco, she is faced with her son’s past — his life’s work as a drag performer. She eventually forms a tight bond with his chosen family who was by his side at the time of his death. 

What I love about this film is it features Black trans visibility in the drag world, and the beautiful oil and water relationship between Nathan (Adrian Grenier) and Maybelline (Jacki Weaver), as well as the unexpected love triangle between Maybelline, August (Anthony Skordi) and Jeb (Hugh Thompson). If you are looking for a nice, mellow fun comedy to watch, check out “Stage Mother.” 

Currently streaming on Starz, Starz Play Amazon Channel, DIRECTV. Possible to buy or rent on Apple iTunes, Google Play Movies, Vudu, Amazon Video, Microsoft Store, YouTube, Redbox, DIRECTV, Alamo on Demand.

5.  I Love You Both (2017) Written and directed by Doug Archibald, it tells the story of Krystal (Kristin Archibald) and her twin brother / gay roommate Donny (Doug Archibald). Their friendship eventually takes a downward spiral as they fall in love with the same man, Andy (Lucas Neff). This film is brilliant because I haven’t really seen anything like it since The Object of My Affection starring Jennifer Aniston and Paul Rudd. “I Love You Both,” is not your traditional love story. Actress Kristin Archibald is hilarious and I’m surprised that this was her first acting role in a motion picture. I can’t wait to see what she does next. The theme of the movie kind of reminds me of the line from When Harry Met Sally about how men and women can never be friends, as the same phrase can be applied to members of the LGBTQ+ community and straight people. Sometimes love stories may not have a happy ending but they do have a new beginning, and this film captures the beauty of it all and for all audiences to relate to. Doug Archibald did a fabulous job directing this indie flick. Oftentimes, gay men and lesbian characters are cast as the gay best friend, without the onscreen romance or leading role. It’s great that he created something for everyone, expressing gender fluidity as the norm. The way that it should always be. 

Currently streaming on Amazon Prime Video, Hoopla, or for free with ads on Tubi TV, VUDU Free.  Possible to rent or buy on Apple iTunes, Google Play Movies, Vudu, Amazon Video, YouTube, Redbox, FlixFling online.

6.  Pariah (2011) Written and directed by Dee Rees, starring Adepero Oduye, Aasha Davis, Kim Wayans, and Pernell Walker. The film is about a closested lesbian teen who goes through hurtles toward self-love and self-discovery. It’s a heartbreaking film that I feel is important for everyone to watch. It’s a story that I’ve rarely seen told, where the Black lesbian character is the main focus in the film, as well as showing a love story between two black queer women, without it being stereotypical. I really appreciated the fact that Rees created characters that show the LGBTQ+ community in its truest form. Rees created a world of her own, but through a lens that is universal that people of many different experiences can relate to. Kim Wayans plays a religious mother who eventually comes to grips with accepting her daughter's sexuality. The film also sheds light on the pain and oppression that our POC LGBTQ+ youth go through every day. Not only are they often rejected by some religious organizations, but they also deal with homophobia. The concept and plot of Pariah deserve a lot more praise than it has gotten. If you are looking for a groundbreaking drama and coming-of-age story, definitely watch Pariah.

Currently streaming on Netflix. Possible to buy or rent on Apple iTunes, Google Play Movies, Vudu, Amazon Video, Microsoft Store, YouTube, Redbox, or DIRECTV.

7. Ahead of the Curve (2020) This is an amazing documentary about the rise and fall of the #1 bestselling lesbian magazine, directed by Jen Rainin and Rivkah Beth Medow. I remember living in San Francisco as an Academy of Art student, ordering my latest copy of Curve Magazine and reading it in my dorm room. Magazines were my escape as a young adult at the time, before the driving force of the digital world. This film is a beautiful tribute to magazine owner Frances “Franco” Stevens, a woman who was forced out of her home after coming out as a lesbian, and later launched an empire for all queer women. 

Currently streaming on Starz, and Starz Play Amazon Channel. Possible to buy or rent "Ahead of the Curve" on Apple iTunes, Google Play Movies, Vudu, Amazon Video, FandangoNOW, or YouTube.

 8. Giant Little Ones (2018) Written and directed by Keith Behrman, starring Josh Wiggins, Darren Mann, Kyle MacLachlan, Taylor Hickson, Maria Bello, and Peter Outerbridge. Giant Little One tells the story of two high school friends who experience one night of passion that shifts their lives forever, leading them to sexual discovery. Actress Maria Bello was the highlight for me for obvious reasons, because she is so talented and underrated. She plays the hip mother of Josh Wiggins’ character, Darren. I’ve loved Maria since watching The Sisters (2015).

Currently streaming on Starz, Starz Play Amazon Channel, DIRECTV.  Possible to buy or rent on Apple iTunes, Google Play Movies, Vudu, Amazon Video, Microsoft Store, YouTube, Redbox, or AMC on Demand.

9.  A Fantastic Woman (2017) is directed by Sebastián Lelio, and stars Daniela Vega, Francisco Reyes, and Luis Gnecco. It tells the story of Marina, a transgender waitress, and singer, who is grieving after the death of her lover Orlando (Francisco Reyes). The cinematography in this film is breathtaking as well as the performances by Daniela Vega and Trinidad González. It’s an important film for the LGBTQ+ community and allies to watch. 

Possible to buy on Google Play Movies, Vudu, Amazon Video, Microsoft Store, YouTube, Redbox, DIRECTV, Alamo on Demand as download or rent it on Google Play Movies, Amazon Video, Microsoft Store, YouTube, Redbox, DIRECTV, Alamo on Demand online.

10. The Death and Life of Marsha P. Johnson (2017) I wanted to save the best for last. This documentary is directed by David France and stars Victoria Cruz. It’s about an ongoing investigation of the mysterious death of one of the leading Stonewall activists, the legendary Marsha P. Johnson. 

This documentary will literally have you at the edge of your seat. It’s a murder mystery where you find yourself torn apart by the injustice and police brutality against the trans Community. The doc also captures the ongoing divide between trans women and the Gay community and the lack of acknowledgment that the founders of the Queer Liberation Movement were trans women of color. It’s a documentary that sheds light on the resolution that we have a lot more work to do in 2021.

Currently streaming on Netflix. 

Follow Danielle Earle on Twitter, Instagram, and on her company’s website, PL Entertainment LLC.

If there are other questions you want to be answered in a blog post, let us know at info@fourwindfilms.com or visit our website at www.fourwindfilms.com. Also, we work with a large, diverse community of crew and artists working in most aspects of the filmmaking process and are always happy to help make connections. And we are always building our community! Send us your work for review or feedback.

Finding Your Voice as a Woman of Color Producer in the Film Industry

By Danielle Earle

Photo by Kelly Fournier on Unsplash.

Photo by Kelly Fournier on Unsplash.

Finding my voice as a Black woman in the film industry was a challenge for me. Experiencing prejudgement in a sea of white creatives was the last thing I expected, but that was the reality. 

Trust Your Vision and Create Your Own Opportunities

I continue to strive for a seat at the table. At times, the sea of white creatives assumes that having a seat at the table for a person of color means serving, volunteering without a sense of self-worth. So, what do we do? What do we do as black actresses, directors, and writers? How do we find acceptance? We form our own opportunities. We learn to value self-worth and continue to fight back with a shield placed against our hearts. That shield is a vision that holds clear in our minds which is our superpower. 

In 2010, at the age of 26, was when I finally found a sense of self-value. I knew I wasn’t meant for corporate America, and the Arts were the only place that I could call home. 

For years I never felt my voice was worthy for art, for love, or anything for that matter. Films were my escape, my adventure to the unknown. Ten years later my voice became stronger and I created my film production company PL Entertainment LLC.

There were not many filmmakers that looked like me, nor were they the same gender. The majority of them were white males who were getting the financing and support. For Black women, finding the resources back then was slim to none.

Don’t Let Yourself Be Stereotyped

I remember going out to events and explaining about my little, no budget series, Brooklyn Is In Love and having a response from a white creative who said, “This series will never get noticed. This is not what people are looking for.”  A Black male creative said, “You need more diversity.” 

When I produced my first LGBTQ Feature film,  I got criticism from several members of the white LGBTQ community who said that it was ironic I had white actors in my film.  I felt judged rather than celebrated as if it was taboo as a Black writer to write white characters. As if women of color (WOC) within the LGBTQ community are not equipped to create queer content for white America. Or there’s a sense of surprise that my work doesn’t fit under the landscape of the general stereotype for Black women in the gay community. That there’s no way I’ve lived similar experiences as them.

When I produced Brooklyn Is In Love in 2011, New York was a dead town. Post Grads were sleeping on the streets of Manhattan with no job and no security blanket. Artists were struggling to save enough for rent the next month. In the midst of it all, I was in the center. Watching it unfold, behind a lens. 

So I decided to make art from crisis to give us a sense of hope. Since the launch of episode 1, the view count exploded. I was getting emails and comments online, praising the show. At first, it was like lighting a match in the dark and waiting for a spark. The spark happened and that’s when it became real. 

You’re in a position as a woman of color producer, whether you are queer or straight. You have to continue to prove yourself. When I entered the doors and signed my first contract at the Guild after the success of the series, it made me realize that this was my new journey. 

Collaboration is Key

The best way I found to do it is by creating the platform yourself, and navigating a maze of possibilities. Yes, there are roadblocks, but there are ways around it. Collaborating is the answer. 

At 26, I was a very stubborn late bloomer. Over the years, I learned to find my community of people that valued my self-worth through financing, support, guidance, and collaboration. Collaboration and networking are key to a continuous road of achievement. 

Another tip for finding your voice is to always keep an open mind when collaborating. There will be times when the idea may change or shift. Don’t be afraid to speak up to your team. Yes, as Producers we strive to stay relevant. We need it. We crave it, and it’s totally natural, but don’t let it take you over. Invite people into your heart and creative world, because that is the only way you will grow. 

Remember there are so many writers looking for an opportunity, and they need a good producer like you to help them get their work seen. It’s about passing the torch. Once you reach a level of acceptance, it’s the greatest gift in the world as a creative. 

Know Your Worth In Dollar Signs!

When you are negotiating a contract, whether it is as a producer, director, or writer, don’t be afraid to tell them your self-worth in dollar signs. Black women in the industry have always had to settle for less, and in 2021, it is finally a year of celebration for Black Art. If it doesn’t go in your favor, there is always another opportunity waiting for you.

WOC Producers, continue to show your worth to the world, and never be afraid to show your bright light. It’s never too bright because you are the reason for the change, for the progress, and for the next generation of WOC Producers everywhere. 

Follow Danielle Earle on Twitter, Instagram, and on her company’s website, PL Entertainment LLC.

If there are other questions you want to be answered in a blog post, let us know at info@fourwindfilms.com or visit our website at www.fourwindfilms.com. Also, we work with a large, diverse community of crew and artists working in most aspects of the filmmaking process and are always happy to help make connections. And we are always building our community! Send us your work for review or feedback.

Top 9 Reasons Diversity in Media Matters

By Jessica W. Chen

Actor/Writer/Dancer Craig Fishback on the set of the short film It’s Who You Know in Los Angeles. Photo by Adrian Gutierrez.

Actor/Writer/Dancer Craig Fishback on the set of the short film It’s Who You Know in Los Angeles. Photo by Adrian Gutierrez.

According to the Brookings Institute, four out of ten respondents to the U.S. Census reported being of a race or ethnicity other than white in 2020. These statistics prove that it’s time to update America’s media output. Since Hollywood’s inception, whiteness has been considered the “default.” You have probably noticed that TV and film often feature predominantly cis, white, upper-middle-class, straight, and/or non-disabled characters, and contain troubling portrayals of characters who don’t fit into these descriptors. It’s time to move away from default whiteness to better represent our society. 

As the producer of projects such as the Re-Casting the Movies podcast, and a queer reading of Alexander Utz’s Frankenstein play, I’m always thinking about how diverse casting and media affect audiences and society at large. After some introspection, I thought I’d share why this cause is so near and dear to my heart. Here are my top nine reasons why diversity in media matters:

1. It better reflects the society around us

New York often makes “most multicultural cities” lists, highlighting just how strange Hollywood's tendency towards “default whiteness” is in many films and TV shows set in New York, such as Breakfast at Tiffany’s and Girls.

Some of this lack of diversity can be explained by the homogeneity of writers’ rooms since 91% of Hollywood showrunners are white and 86.3% of writers in Hollywood writers’ rooms are white, according to a Color of Change report. With mostly white writers offering their experiences, it’s easy for them to “write what they know,” and centering their stories on their friends, family, and communities. 

However, casting also plays a big part. With so many white writers and executives, there’s an unspoken assumption that characters are white. With the very rare exception, roles that aren’t explicitly written for non-white characters don’t usually end up casting Black or brown actors. Although TV and film have been getting better at depicting our multicultural society, non-diverse casts broadcast a representation of the U.S. that erases certain communities to audiences. This leads to wrongful impressions of American history and society that deny its cultural richness.

The cast of Drama High, a romantic comedy series created by Jessica W. Chen that takes place in NYC. From left to right: Jessica W. Chen, Jordan Mahr, Young Mazino, Lex Bolisay. Photo by William Loo.

The cast of Drama High, a romantic comedy series created by Jessica W. Chen that takes place in NYC. From left to right: Jessica W. Chen, Jordan Mahr, Young Mazino, Lex Bolisay. Photo by William Loo.

2. It creates role models for new generations

When Barack Obama became the 44th President of the United States, the possibilities of what was possible suddenly opened up for Black communities. With his election, President Obama became a role model and symbol of Black excellence and inspired many young people to strive for their dreams. 

Diverse media also has the power to open up the gates of possibility for young people from communities made marginalized. In recent years, audiences have begun documenting how diverse casting affected themselves or their families, such as the viral response a Mexican father had to Diego Luna’s natural Mexican accent when he played Captain Cassian Andor in Rogue One: A Star Wars Story. 

These touching stories reveal how audiences from underrepresented communities feel seen after observing films portray characters with their backgrounds as heroes. Diverse media that creates a wide range of role models helps make previously unimaginable dreams accessible, especially after growing up with media that inadvertently tells young people that if they don’t fit into society’s default whiteness, then they have no worth outside of being the protagonist’s best friend or sidekick.

3. It normalizes our differences and lays bare what makes us relatable

Recently, when the Re-Casting the Movies team spoke with Philip LaZebnik, one of the screenwriters for Mulan (1998), we asked him how he approached writing characters with a different cultural background than him. While he acknowledged that research and speaking with people from the community is of utmost importance, he also emphasized that certain dynamics, such as family dynamics, ring true across cultures. 

Often, due to ignorance, we otherize people who don’t resemble us by pointing out differences. However, if more diverse media exposed people to communities they weren’t familiar with, it would help normalize cultural specificities. These stories would show audiences that we all go through universal and relatable human struggles, leading to greater understanding and empathy across communities.

4. It reminds us not to abide by age-old stereotypes or succumb to bigotry

In addition to having diverse representation in media, it’s also crucial to push for accurate and varied representation. With the near-ubiquitous representation of white protagonists, you don’t find many age-old stereotypes about white people because there are simply more experiences to draw on. There are a plethora of stories featuring white characters with nuance and depth.

However, those from underrepresented communities aren’t afforded that luxury. Due to not having much media representation, Black and brown characters are few and far between. And, if the representation that does exist is inaccurate or narrow, it’s the perfect setup for conveying faulty messages or sowing bigotry about certain communities. 

An example of how diversity without variety can be harmful is with the sudden proliferation of reality shows starring affluent Asians, such as Bling Empire and House of Ho, after the popularity of Crazy Rich Asians. (And before you think I’m drawing my own conclusions, multiple publications tie these shows to the hit 2018 romantic comedy film.) While it’s nice to see Asian wealth being celebrated, this media narrative obscures how income inequality is rapidly rising in Asian communities in the U.S. and leads to those unfamiliar with these statistics to assume that Asians are universally well-off. 

Actor Manny Ureña on the set of Abuela’s Luck, set in an NYC bodega.

Actor Manny Ureña on the set of Abuela’s Luck, set in an NYC bodega.

5. It guards against self-hate and shame

Being depicted as the hero matters a lot more than one may expect, especially if you’re used to regularly seeing someone with your experience on screen. Although this may not be true across the board, I admit that years of not having heroes of my background represented conditioned middle school me to feel a certain degree of self-hate and shame towards being Asian because I never saw someone who looked like me depicted in an empowering way. 

When you never see yourself as the hero, you begin to believe that you’re not worthy of or don’t have the ability to be one. This programming conveys society’s expectations (or non-expectations) toward you and your community. Lifting this assumption by creating diverse protagonists in TV and film legitimizes and celebrates marginalized communities who aren’t used to seeing themselves depicted in such powerful and positive ways. 

A clear example of this is with Black Panther and the cultural phenomenon that erupted from it. The cultural impact of Black Panther displayed the jubilation that Black communities felt after witnessing the tentpole release of a film with an African hero at its center. That feeling of being seen and lionized makes a huge difference to young people and helps build self-love and pride. 

6. It gives actors chances to be seen in roles they normally wouldn’t be considered for

Besides creating diverse heroes, diversity in media also needs to extend to casting practices. When productions ask casting directors to find actors for specific roles, pre-established biases often affect who gets called into the audition room. 

For instance, if the role calls for a counselor, even if the casting call doesn’t specify race, a casting director may pass on giving actors of color a chance to audition, if unconscious biases suggest that an actor of color would be “unconvincing” or “isn’t the right type” to play a counselor role. 

However, if more casting directors were aware of possible bias and considered all races of actors for roles where there are no specific character requirements, then we may get TV and film roles that open up the possibilities for Black and brown actors regarding who they can play. Over time, this new world of casting may wear away societal stereotypes and expectations towards what groups of people are capable of or are suited to do.

Another shot from the set of Drama High, a romantic comedy series created by Jessica W. Chen that takes place in NYC. From left to right: Young Mazino and Jordan Mahr. Photo by William Loo.

Another shot from the set of Drama High, a romantic comedy series created by Jessica W. Chen that takes place in NYC. From left to right: Young Mazino and Jordan Mahr. Photo by William Loo.

7. It gives value to everyone’s experiences

When diverse stories are finally given a chance to be told, casting needs to also catch up to reflect the experience being conveyed. Having actors who match the experiences they’re portraying is the best way to give value and authenticity to stories. 

For instance, having Eddie Redmayne, a cis man, play Lili Elbe, a trans woman and one of the first recipients of sex reassignment surgery, undermines the experiences of people in the trans community. By perpetuating the idea that trans women are just men in dresses, the movie does more harm than good, despite spotlighting a pioneering trans story. Eddie Redmayne may be talented, but casting him sends the message that trans actresses’ life experiences aren’t valuable and can be easily adopted through a combination of research and costuming.

8. It prevents us from being written out of stories

Conscious casting also prevents people from communities made marginalized from being written out of their own stories. People from underrepresented communities played many important roles in history, but often, mainstream movies lead to misconceptions of how homogenous society and historical heroes were. 

An example of this is Argo (2012), where Ben Affleck plays the protagonist, Antonio Mendez. Based on a true story, casting Affleck effectively erases Mendez’s Mexican heritage, which is regrettable since he led a daring and heroic historical event. If Mendez had been represented by a Latino actor, the movie could inspire and remind young people in the Latinx community that they’re a crucial part of the fabric of American history, too.

For more instances of whitewashing, check out Re-Casting the Movies’ excellent list of whitewashed movies, one for each year of the 2000s.

9. It brings new American stories to the table 

When productions cast consciously, there’s a greater chance that new American stories can see the light of day. For decades, American TV and films have focused on telling stories about cis, white, upper-middle-class, straight, and/or non-disabled casts, which has built up over time a fixed idea of what constitutes an American story. 

This narrow definition of American stories leads to controversies, such as prestigious film awards designating The Farewell and Minari as foreign or foreign language films, even though both movies were made by U.S. production companies. Characterizing these movies as “foreign” feeds the American perception of Asians as perpetual foreigners or immigrants, despite how many Asian families having been in the U.S. for generations.

As you can see, such a limited view on American films simply doesn’t work anymore. A society as diverse as America deserves media that celebrates its nuances and richness. After reading this article, I hope it’s clear why changing the paradigm of who and whose stories are considered American through informed casting and media creation is a shift that is long overdue.

Find out more about Jessica W. Chen and her work at her website. Or, follow Jess on Instagram, Facebook, and Youtube.

If there are other questions you want to be answered in a blog post, let us know at info@fourwindfilms.com or visit our website at www.fourwindfilms.com. Also, we work with a large, diverse community of crew and artists working in most aspects of the filmmaking process and are always happy to help make connections. And we are always building our community! Send us your work for review or feedback.

WOC Filmmakers: Resources for Making Connections

By Cindy Chu

“How are you going to eat?” my mom asked me in Taiwanese. If you’re a woman of color or first or second-generation American, I’m sure your parents have asked you that same question. As a child of working-class Taiwanese/Chinese immigrants and a first-generation American from Queens, NY, filmmaking is the last career my parents define as being “successful”. When I told my mother I wanted to be an actress, she was scared for me. We didn’t know anyone in the industry, and every movie and television show she watched was a sea of white people with barely any Asian American faces. 

Fast forward years later, I’m now a screenwriter/filmmaker. Despite starting my career without any industry connections,  I joined the following organizations that help underrepresented filmmakers build connections and find collaborators. Through these communities, I found collaborators for my award-winning projects. In an industry that relies heavily on “who you know” and has a long history of racism, it’s imperative for BIPOC creatives to strengthen their network by joining organizations and communities that value fair access.

NYC WOMEN FILMMAKERS - I can’t say enough how much this organization has saved my ass! From tax advice to hiring crew, it’s helped me find the resources I needed. It’s also where I met Piper Werle of Fourwind Films to write this. There are monthly events that cater to different topics of the industry like editing for film/TV, legal advice from a law clinic, and more. Women, trans women, and non-binary identifying creators who are based in NYC or travel to the city frequently for work can join the Facebook group.

WOMEN OF COLOR UNITE - Their #StartWith8Hollywood mentorship program matches industry mentors with WOC, and it’s a signup process without application fees or numerous essays. If you’ve ever applied to creative fellowships, contests, etc. this sounds like a miracle! They have a Facebook group for both allies and WOC, and a private network for only WOC to share opportunities and network.

GHETTO FILM SCHOOL - Despite its name, it’s not a literal school. They educate, develop, and celebrate the next generation of great American storytellers, and support early career professionals from ages 14-34. I’ve even collaborated with a talented colorist through the organization. You can sign up for their newsletter and join their Facebook group to hear about job opportunities and events.

Last, but not least, HUE YOU KNOW...FOR BIPOC IN MEDIA - It’s a space to ask entertainment-related questions, seek advice, and view or make posts for employment seeking and opportunities. Their members are artists, lawyers, CEO’s, and anyone who works in media. They cover a wide spectrum of careers from Public Relations to Film/TV (scripted or unscripted) and more. BIPOC media folks can join their Facebook group.

As much as the entertainment industry is somewhat improving, like with the Oscars adding a diversity requirement for eligibility, the opportunities for women of color are still not enough. For Asian Americans, the old Hollywood system still finds ways to keep us separate. Take the 2021 Golden Globe nomination for Minari, a Korean-American story that is written, directed, produced, and stars Americans, yet is still considered in the Foreign Language Film category. 

The USC Annenberg Inclusive Initiative (2020) notes, “ Looking across all racial/ethnic groups measured, the number of films that erased girls/women from all speaking or named roles across the 100 top films of 2019 was as follows: Hispanic/Latinas (71 movies), Black (33 movies), American Indian/Alaskan Native (97 movies), Native Hawaiian/Pacific Islander (99 movies), Asian (55 movies), Middle Eastern/North African (92 movies), Multiracial/Multiethnic (45 movies). In contrast, White girls and women were only erased from 7 movies." This is largely due to the origins and long history of Hollywood being dominated by white men. This is changing as more women of color, and BIPOC in general, are taking decision-making positions as executives, directors, showrunners, producers, and more.

While it can feel daunting starting out in the industry, know that you’re not alone. This is only a partial list of organizations to join, you can also look for specific groups related to your ethnicity or career path. The community you create today are the ones you’ll be rising up with in the future. I hope this blog helps you find your community. 

Additional Resources: 

Follow Cindy Chu on Instagram @itscindychu, and on Twitter @cindychuwrites.

If there are other questions you want to be answered in a blog post, let us know at info@fourwindfilms.com or visit our website at www.fourwindfilms.com. Also, we work with a large, diverse community of crew and artists working in most aspects of the filmmaking process and are always happy to help make connections. And we are always building our community! Send us your work for review or feedback.