#awomanapart #maggiesiff

Love Begins
Sweet Seals For You, Always
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Claire Keane

Discoholic đȘ©
Xuebing Du
Show & Tell

romaâ
NASA
ojovivo

Janaina Medeiros
Cosimo Galluzzi
we're not kids anymore.

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trying on a metaphor

Kaledo Art
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#awomanapart #maggiesiff
Our Kickstarter campaign for Elisabeth Subrinâs film, âA Woman, A Part,â is entering its final stretch. Weâre happy to have a backerâs video shout-out today from our star, Maggie Siff, whose new show, âBillions,â premieres next month. Please consider supporting our campaign -- there will be more video messages for backers from cast and crew as we finish the film and premiere.
https://www.kickstarter.com/projects/1891929327/a-woman-a-part-a-film-by-elisabeth-subrin
A Woman, A Part examines a transformational moment in the life of Anna Baskin, a smart, successful actress in an emotional, physical, and professional crisis. Played by Sons of Anarchy and Mad Men star MAGGIE SIFF, Anna is known for the crisply professional yet emotionally one dimensional woman she plays on a mind-numbing TV series. She finds herself imprisoned by this role, and unable to locate the passion that caused her to embrace acting in the first place. Dependent on Ritalin and her assistant to get her through her days, Anna is falling apart.
She abruptly walks off her show in LA and runs away to NYC to squat in her old rent stabilized apartment in Brooklyn. Her return to New York blindsides her old theater friends and past loves whose lives she unwittingly changed when she left for Hollywood years earlier. Drifting through a transformed, gentrifying New York, Anna seeks insight from healers, meditation teachers, one-night stands, and her old friends, trying to find her way back to an authentic self.
Through the lens of all of this, I was also able to explore many other ideas in this film, like the line between acting and being, sexism in the film industry, the mediated/medicated self, the depth and complexity of friendship, gentrification as phenomenon and metaphor, the desire to escape oneâs life, and the impossibility of overnight change.- Elisabeth Subrin
Donate to Kickstart this project
Such amazing support for A Woman, A Part from our friends fyeahmaggiesiff!! Thank you so much!!Â
Support Maggie Siffâs First Lead Role in a Movie
Who Cares About Actresses is so excited to announce the launch of the Kickstarter campaign for Elisabethâs movie, A Woman, A Part. It is Elisabethâs debut feature narrative film, as well as Maggie Siffâs first leading role in a movie. Maggie stars alongside Cara Seymour (The Knick, Adaptation, Hotel Rwanda, An Education), John Ortiz (Silver Linings Playbook, Togetherness) and Khandi Alexander (Scandal, Treme, CSI Miami). The film is the story of a transformational moment in the life of a successful actress, Anna Baskin (Siff), in the midst of an emotional, physical and professional crisis. While telling the story of her attempt to return to the New York theater community and her friends she turned her back on a decade earlier, the film meditates on a broad range of critical and personal issues, including sexism in the film industry, gentrification, addiction, autoimmune disease, burnout, Â and the role of actresses in society.Â
Who Cares About Actresses was made to explore what it means to be a woman who acts, and A Woman, A Part does just that through the story of Anna Baskin. WCAA begs for more inclusivity in media, more women and people of color on and off screen, and we uphold the few movies and tv shows that actually achieve this. AWAP reflects the values of WCAA, featuring a cast that is majority women (shockingly rare) and a very diverse crew in terms of race and gender (also, almost unheard of.)Â
Of the film, Elisabeth writes: âOf all possible women characters, how did I ever end up writing about an actress? Having spent two decades making films and art about womenâs experiences from a feminist perspective, I realized that actresses are the ultimate representation of women â they tell our culture who and what a woman is, what she wants and feels. The irony is that actresses rarely have any say in the parts they play, so their representations are rarely their own. I was interested in the story of a woman struggling to take control of her representation, and trying to rewrite her own life by facing her past.âÂ
Please contribute to the campaign - no donation is too small. Help us get this film to the big screen. Also, there are great rewards!!Â
Check out the Kickstarter and please spread the word!!!!Â
#awapfilm  #actressesrepresent  #elisabethsubrin
I produced this film and any support at all, ranging from a contribution, a reblog, to just a tweet, is very appreciated. Thank you.
Elisabeth Subrin's "A Woman, A Part," now on Kickstarter.
âLeft alone in time, memories harden into summaries. The originals become almost irretrievable.â
Sarah Manguso in "Ongoingness."
True friendship resists time, distance and silence.
Isabel Allende (via murmurrs)
How to Hack a Hackathon (Or, the New Age of Fast Storytelling.)
As the history of film progressed, audiences got better and better at consuming information faster and faster, so that when âMTVâ style editing came around in the 80s, our minds very quickly adapted, and we were able to make sense out of very quick, short bursts of information and rapid-fire cuts.
Likewise, the progress of the web has trained us to make sense out of even smaller bits of information. A Tweet. An animated GIF. A meme. These things communicate very specific  atomic units of information very quickly. This is where weâd like to take True Crime storytelling in the 21st Century.
Thanks to Film Comment for writing up "Who Cares About Actresses," Elisabeth Subrin's Tumblr about how women's representation of women can be a radical act.
âIâm afraid that, as far the important things go, Iâm still an immature person. And thatâs not easy; donât go thinking weâre born immature; itâs something you have to work on really hard.â â Roberto Bolano in Bolaño por sĂ mismo
"A Woman, A Part," Elisabeth Subrin's debut feature starring Maggie Siff and Cara Seymour. Shooting 2015. Website/newsletter, Facebook, Tumblr.Â
From Claudia Rankineâs âCitizen: An American Lyricâ
"The subject of so many films is the protection of the victim, and, I think, I donât give a damn about those things. Itâs not the job of films to nurse people. With whatâs happening in the chemistry of love, I donât want to be a nurse...
Redirecting the NSA Gaze.
Although sheâs only seen on screen for a second or two, reflected in a mirror in Edward Snowdenâs Hong Kong hotel room, filmmaker Laura Poitrasâs performance deserves to be singled out as one of 2014âs great ones by a woman. Thatâs because it was her experience...
Who could forget Eszter Balint in Jim Jarmuschâs downtown indie breakthrough Stranger Than Paradise (1984)?She reminds me of a Hungarian Maria Schneider: fascinating, elusive, non-indicating/emoting, timeless, and completely self-possessed. (Okay, from there on thereâs a few differences). Anyway,...
RĂșnar RĂșnarssonâs Volcano, magnificent photography by Sophia Olson. The story is really similar to Amour from Haneke, the movie is just betterâŠ
I agree with this.