Directory of Sponsored Projects

Array
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    [ID] => 161261
    [title] => Barbara Forever
    [text] => BARBARA FOREVER explores the films, archive, and ongoing cultural impact of experimental filmmaker Barbara Hammer, revealing her ingenious lifelong artistic effort to create and record lesbian histories, personal and societal. The film centers Barbara as a prism of the cultural ecosystems around her throughout her kaleidoscopic career – through the feminist and queer movements in 1970s San Francisco, the New York art world of the 1980s, the sex wars and rise of the radical New Queer Cinema genre of the 1990s, and Barbara’s reckoning with aging and mortality in the 2000s.

Through the course of the film, Barbara shows us that the personal is not only political, the personal is historical. Looking to Barbara as one of the first filmmakers to put a lesbian life on screen that wasn’t there before, her work becomes a blueprint for a new generation of queer and radical artists to write our own histories into existence. This exploration of both Barbara Hammer’s life, work, archive, and her ongoing legacy provides an urgent, necessary story of queer life, feminist history and avant-garde cinema.
    [logline] => BARBARA FOREVER is an exclusive look at the iconic life, work, & legacy of pioneering lesbian experimental filmmaker, Barbara Hammer, tracing her prolific canon alongside never-before-seen documentations of her life and body, to reveal Hammer's unconventional attempts to live on forever.
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Array
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    [ID] => 124717
    [title] => Taking Venice
    [text] => At the height of the Cold War, the U.S. government is determined to fight Communism with culture. The Venice Biennale, the world’s most influential art exhibition, becomes a proving ground in 1964. Alice Denney, Washington insider and friend of the Kennedys, recommends Alan Solomon, an ambitious curator making waves with trailblazing art, to organize the U.S. entry. Together with Leo Castelli, a powerful New York art dealer, they embark on a daring plan to make Robert Rauschenberg the winner of the Grand Prize. The artist is yet to be taken seriously with his combinations of junk off the street and images from pop culture, but he has the potential to dazzle. Deftly pulling off maneuvers that could have come from a Hollywood thriller, the American team leaves the international press crying foul and Rauschenberg questioning the politics of nationalism that sent him there.
    [logline] => TAKING VENICE uncovers the true story behind rumors that the U.S. government and a team of high-placed insiders rigged the 1964 Venice Biennale – the Olympics of art – so their chosen artist, Robert Rauschenberg, could win the Grand Prize.
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Array
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    [ID] => 155129
    [title] => My Color
    [text] => Across the globe, a unique group of individuals embrace a monochrome existence, living in a world of a single color — from their clothes to their homes. We follow Levaille, an orange, trans artist pursuing top surgery while navigating strained family relationships; Ali, a pink, autistic, opera singer chasing her pop star dreams in Japan; and Elizabeth, the beloved "Green Lady of Brooklyn," who brightens the lives of all who cross her path. Whimsical, fantastical, quirky, and heartfelt, My Color is a film that asks how we choose to cope with an overwhelming world by showing the nuance, beauty and complexity of people who experience life differently.
    [logline] => My Color is a fantastical documentary window into the lives and minds of loveable misfits using color to escape, heal, and empower.
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            [alt] => Two individuals embrace each other against pink backdrop
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Array
(
    [ID] => 84318
    [title] => LISTEN TO MY HEARTBEAT
    [text] => Washington, D.C. may be the political epicenter of the world, but residents beyond Capitol Hill have long battled socioeconomic disparity and fought to have their voice heard. As the city gentrifies, black residents have been pushed to the outskirts, along with their homegrown folkloric music: Go-Go.

We follow: TOB, a popular Go-Go band with a large youth following. TOB is fighting the erasure of Black people and culture through music. LIL CHRIS is the conductor of the twelve-piece band and, as the “lead mic,” he tells the crowd what is going on. FLIP, LIL CHRIS’s older brother, creates harmonizing melodies that blend with his little brother’s lyrics. People of all ages stand in line in anticipation of hearing TOB, dancing and to have their neighborhood stamped. Stamping is when a Go-Go band shouts out the name of a neighborhood, as if to say you were here and you mattered. In the face of housing gentrification and cultural erasure, this is one of a few places where Black Washingtonians are seen, recognized, and celebrated. This is one of a few places that reflects the old D.C. As the city gentrifies, many of those neighborhoods no longer exist.

While TOB fights to keep the essence of Go-Go alive many of their concerts are shut down. We follow TOB as they go from being musicians to activist fighting to save Go-Go music.Through the film we discover there have been different methods of shutting down Go-Go concerts and even tracking Go-Go bands. These methods have been pushed through local government, micro laws / bills and even noise violations.  


The story of gentrification, Go-Go, and politics collide when we meet TRAYON WHITE, a community organizer and school board member. While TOB stamps D.C. residents on the Go-Go Stage, TRAYON is working to stamp the future of D.C.’s residents through legislation. After TRAYON’s mentor - Mayor Marion Berry - died while in office, the Black residents rallied behind TRAYON to run for office to protect them from looming erasure. TRAYON is running for city council in the poorest section of the city and the last to be gentrified. TRAYON grew up on Go-Go, is an ally to the culture, and often works with the Go-Go community to get the political word out and protest unlawful developments and actions happening in the city. TRAYON is on the front lines of Ward 8, running interference between politicians, police, black residents, youth and developers who have open wallets and eyes on his community.

After years of contention between the Go-Go community, local politicians and new residents in the Spring of 2019 the story of Go-Go and Gentrification goes viral. Central Communications is a cellphone store and Washington, D.C, Go-Go landmark. The store has been playing Go-Go music outside of its store since 1990’s. The store is one of the last places in the city where you can still hear Go-Go music being played. After new residents complained about the store playing Go-Go music, a campaign / rallying cry named #dontmutedc went viral, and a change.org petition started. We follow TOB as they take to the street to protest the shutting down of the store. As TOB performed on the street, more than 3,000 people gathered to protest with the band. The protest caused Go-Go lovers and Black residents to protest and get politically active. Here we see the inception of TOB as activist.

TOB and TRAYON work alongside each other, and through their shared story we show the intersection of music, activism and politics. Amid the film we see Trayon go from community activist to politician, and we see TOB go from musicians to Go-Go activists.

LISTEN TO MY HEARTBEAT highlights the culture of Go-Go and its significance to the foundation of Washington, D.C. The film investigates the politics, the over-policing and the gentrification that have led to the displacement of the poor and working-class residents of the city and their music. This is a story of resistance. We tell the story of a community fighting for their humanity, their community, their sound and their…heartbeat. 
    [logline] => LISTEN TO MY HEARTBEAT looks at the gentrification of Washington, DC, through the lens of the city's folkloric music - Go-Go. Amid a gentrification boom, DC natives are facing erasure. The film examines a changing city and the future of the music that gave them a voice.
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Array
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    [ID] => 147398
    [title] => Grassland
    [text] => GRASSLAND is a topical and riveting social justice drama about the criminal justice system and marijuana incarceration rates. The narrative film, which is led by Mía Maestro, Quincy Isaiah, Jeff Kober and Ravi Cabot-Conyers, is set in 2008 and explores both the economic recession and the inequities of incarceration rates of the era. The story follows Leo, an inquisitive and sensitive Latino boy (Cabot-Conyers), who puts his single mother’s (Maestro) illegal marijuana business at risk when he befriends the new neighbors, a young white boy and his police officer grandfather (Kober). 
    [logline] => Exploring the failures of the criminal justice system from a unique angle, GRASSLAND follows a young Latino boy who puts his single mother's illegal marijuana business at risk when he befriends the new neighbors.
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Array
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    [title] => Jean Cocteau
    [text] => Jean Cocteau possessed a staggering breadth of talent; he achieved fame as a poet, playwright, visual artist, choreographer, set designer and filmmaker. When he died in 1963, he was one of the most celebrated figures in France. Though many in Montparnasse were jealous of the “aura” that surrounded him and which seemed to assure his success in every new endeavor, his life was full of failures, betrayals, and reversals. He responded to these setbacks with a manic work ethic and non-stop artistic output. This feature documentary will explore the give-and-take between his life and his art.
    [logline] => Jean Cocteau, the inconnu célèbre, was one of the most celebrated and prolific figures in France of the 20th century. Explore his life, not-stop artistic output and the personal moments that formed him in this feature documentary.  
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Array
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    [ID] => 136509
    [title] => Familiar Touch
    [text] => Collaborating with a real assisted living facility as our primary location and with their residents as supporting cast and crew, we will engage hybrid documentary approaches to this narrative feature's production to shape our film through intergenerational collaboration with older adults. 

Before production, Sarah will facilitate an introduction to filmmaking workshop for the residents. This workshop will support and encourage the creative expression of the residents hosting us as visitors in their home while allowing them an opportunity to get to know and become comfortable with our crew. Each department head will facilitate one session of the workshop during prep so that the residents learn about each facet of filmmaking. The workshop will culminate in filming short hybrid scenes of their daily life at the assisted living facility. 

During production, we will invite these residents to join us as both our cast, as supporting characters and background, and our crew, as consultants in the production design, costumes, and HMU departments. The integration of this creative aging workshop throughout our production process will ground both our collaborative ethics, realism, as well as the anti-ageist politics of our film. 
    [logline] => Familiar Touch is a coming of (old) age film. It follows an octogenarian woman’s transition to life in assisted living as she contends with her conflicting desires and self-narratives amidst her shifting age identity and memory.
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Array
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    [title] => One Night in Tantura
    [text] => As Palestinian filmmaker Hala Gabriel grew up in America to refugee parents, trying to assimilate into American society, the questions about her birthplace as well as that of her parents became more persistent. The result of those questions is a thirteen-year journey of documentation and discovery, that led to the production of One Night in Tantura, named after her family’s village in Palestine.

Hala’s family and former neighbours from Tantura paint a picture of a beautiful village with good relations with their Jewish neighbours which nonetheless was attacked. She confronts the commanders of the Israeli force that occupied Tantura and who candidly admit to killing over seventy people before expelling everyone else. She hears painful stories about massacres, mass graves, and internment camps where her father (aged fifteen at the time) and others found themselves for months at the start of a journey of being stateless which has transcended multiple generations to this day.

The Israeli narrative for the establishment of the state conveniently neglects to mention the Palestinian people, to the extent of saying Palestine was a land without people for a people without a land. Through the story told by survivors of one coastal village, this film dispels that narrative.
    [logline] => Director, Hala Gabriel, a Palestinian refugee from Syria, uncovers the hidden story of internment camps, massacres, cover-ups and atrocities from victims and perpetrators in a journey of exploration to understand why she was born a refugee.
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Array
(
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    [title] => Cosmic Moose and Grizzly Bears Ville
    [text] => My uncle Peter Zak Valentine was born on Valentine’s Day 82 years ago and died in his basement in August of 2022. Long ago diagnosed as paranoid schizophrenic but choosing to live his life unmedicated, Peter lived independently, riding the edge between mental illness and magic. Peter was an eccentric, beloved, and respected local legend of the city of Cambridge. 

The film follows Peter’s unusual journey, weaving around the extraordinary events surrounding his house, MIT, and the city of Cambridge. In the late 1980's, Peter was not the owner of his rent controlled three-story house. It was divided into apartments, and he rented one of them, living on disability payments. When MIT wanted to demolish his neighborhood to develop and build University Park, Peter refused to move, insisting that he could not leave his apartment because it was his laboratory for research on Electromagnetic Arts, a psychic defense system he had created, developed, and taught. After seven years of Peter’s insistence and many legal hearings, MIT physically moved his house 900 ft to Central Square, positioning it at the exact odd angle which he specified. They also sold the entire house to Peter for a dollar. The rest of the neighborhood was demolished and MIT moved forward with their development of University Park. 

The MIT story brings in many larger conversations and questions which are woven throughout the film, specifically around themes of gentrification, rent control, and the increased, looping level of housing shortage that cities such as Cambridge face. 
    [logline] => Peter Valentine, living on disability in an apartment, fought MIT while they demolished his neighborhood to develop University Park, claiming he couldn’t leave because it was his electromagnetic laboratory. Eventually, MIT gifted him the entire building, moving it to another street. Peter was diagnosed schizophrenic and unmedicated all his life.
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Array
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    [ID] => 103000
    [title] => Milisuthando
    [text] => ‘Milisuthando’ is a portrait of me and South Africa, growing up together in the aftermath of apartheid. The moment one realizes they are black in the world is always traumatic. This film is the scenic route of my coming down from that moment. In it, I am tracing who I was before I entered the white world, who I became when I was inside it, and finally, what kind of human being can I be outside of its bounds? Throughout, I am exploring whether it is possible to live out the meaning of my name, Milisuthando (be the love where there is none), in a society where the laws have changed but people’s hearts remain locked in racial conditioning. The film takes place in Three Universes. Over Three Decades. Exploring Three Selves. Driven by my exploratory narrative voice and a compelling cast of my family, friends, foes, and some historical figures, the film braids these universes across time in a non-linear manner, meditating on difficult questions about power, fear, love and unrequited grace. Sometimes observational, sometimes verite, the story unfolds inside my own subjectivity, memory, and the relationships and spaces I share with the people in these universes.
    [logline] => ‘Milisuthando’ is a coming-of-age personal essay film on love and what it means to be human in the context of race, explored through the memories of Milisuthando – who grew up during apartheid but didn’t know it was happening until it was over.
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Array
(
    [ID] => 135010
    [title] => 9-Month Contract
    [text] => Jana spent her childhood between orphanages and streets of Tbilisi. While raising her 14-year-old daughter, Elene, as a single parent without an occupation, she decided to become a surrogate mother. She has to carry someone else's baby for 9 months in exchange for 14.000 USD, an unimaginable amount of money for Jana, of course, she's on board! Jana has already given birth to three babies out of two surrogate pregnancies and is pregnant for the third time. Although she is not living in the streets any more, she is still far from reaching her dream which is to have her own place to live in. It is unclear how many babies Jana needs to deliver to fulfil this dream. The amount of money that seems a lot at first, disappears between her pregnancies, then Jana needs to start the process again. As Jana’s health deteriorates from pregnancy to pregnancy, she thinks of worst case scenarios. However, lacking other options, Jana sees surrogacy as the only way out of homelessness. Elene’s future is a strong motivation for her to carry on through this emotionally and physically hard journey for as long as her health allows. Elene is growing up, so Jana isn’t able to hide her pregnancies from her any more. Her relationship with Elene is the most precious thing for Jana and she is afraid to open up to her about surrogacy. She feels that Elene might judge her, because deep in her heart, Jana does judge herself.
    [logline] => For an orphan Jana, motherhood has always been priceless. When she has to raise a kid single and homeless, Jana becomes a surrogate mother to offer her daughter the life she’s never had. Nine months and 14.000 USD - is it as simple and priceless as it sounds?
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Array
(
    [ID] => 161589
    [title] => Hasta Siempre - Until Forever
    [text] => Since she could walk, Estefanie has donned the insignia of the nonviolent resistance movement that defines her life – red and green for blood and land. Growing up in the most dangerous country in the world for environmental defenders, her mom, Alicia, raised her as the first child to participate in the Indigenous guard, the grassroots force protecting their territory from armed groups seeking control. Her gleeful imagination prevails against a ceaseless war. As Estefanie grows up from age 6-13, she develops a deeper understanding of the violence that shapes her childhood. We began filming in early 2018 as armed conflict was returning to their territory in Cauca with the failed promise of Colombia’s historic peace accord. Assassinations of social leaders exploded, and members of the guard became targets like never before. At age seven, Estefanie witnessed the aftermath of a massacre that killed five members of the guard from their community. Alicia, facing death threats like every other leader from their movement, was forced to grapple with a profound question as a mother: prioritize her and her daughter’s safety, or remain committed to the Indigenous Guard and teach young Estefanie the courage of seeing one’s life as inherently bound to the collective. A feminine portrait of war and resilience through the prism of motherhood, the documentary shows the relational forces that hold people together for a cause, bound to an ancestral struggle "until forever."
    [logline] => Growing up in one of the most powerful nonviolent land-defense movements in the world, a young Indigenous girl, Estefanie, absorbs the struggle of her people to protect their territory in war-torn Colombia. As violence resurges and Estefanie witnesses the deaths of many of their leaders, her mom must teach her.
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    [link] => https://www.wmm.com/sponsored-project/hasta-siempre-until-forever
)

Array
(
    [ID] => 160232
    [title] => Confessions of a Female Gamer
    [text] => At home, I’m Dolya Gavanski - actress, filmmaker and mother to a son whose gaming obsession drives me crazy. But for over 35 million people, I’m the voice of Zarya – the “strongest woman in the world” from the smash-hit game Overwatch. What began as a job to pay the bills thrust me into the strange world of fans and fan conventions, which I cared little for until I was invited to join a campaign against the abuse faced by young female gamers online. Learning about all this misogyny made me question the world I’d lent my voice to, and think about the millions of women choosing to inhabit it. I reached out to them and they invited me - or rather Zarya - into their lives.
  
Travelling from England to Finland, Germany, Bulgaria and the USA, I was overwhelmed by their stories. For these women, gaming is more than a hobby – it’s a lifeline. Battling cultural, societal and family pressures, they’ve been ‘othered’ by a world that doesn’t fully see them. The game helps them rewrite their narratives, form connections, fall in love, and find empowerment. I realised Zarya had become an avatar for their resilience. But to what extent can they channel that strength offline? 

At the heart of this story is a long-distance love affair that takes place entirely online for years before the two lovers finally get to meet in real life.
    [logline] => An actress, reluctantly cast as the voice of the main character (a powerful warrior queen) in a smash-hit video game, becomes an unlikely heroine for female gamers around the world – and uncovers the battles unfolding in their lives. 
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Array
(
    [ID] => 461
    [title] => A Place of Absence
    [text] => In A Place of Absence, filmmaker Marialuisa Ernst travels with the Caravan of Mothers of Missing Migrants on their annual 2,500-mile bus trek through Mexico, desperately searching for their sons and daughters who vanished without a trace trying to reach the U.S. Along the migrant route, this brave group of Central American women visit strip clubs and jails, flashing portraits of their missing children, and go to mass graves, demanding that bones be exhumed for DNA testing. Propelling the filmmaker on this journey with the mothers is her own experience with unresolved grief. Marialuisa’s uncle disappeared during Argentina’s Dirty War in the 1970s. Seamlessly shifting between past and present, desert and forest, and political and personal dimensions, this lyrical film captures the strength arising from female solidarity and maternal love. It reminds us of the invisible threads that trespass borders, binding us together as human beings like the root systems of trees. When a loved one disappears their entire ecosystem is altered.
    [logline] => Decades after the disappearance of her uncle during Argentina’s Dirty War, a filmmaker joins the Caravan of Mothers, a group of brave Central American women who embark on an annual bus trek through Mexico in desperate search of their children who disappeared trying to reach the US.
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    [link] => https://www.wmm.com/sponsored-project/a-place-of-absence
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Array
(
    [ID] => 63131
    [title] => Fencing for the Edge
    [text] => Nerds, divas, and jocks alike will compete for the high school fencing championship in New Jersey. Leading up to the controversial state finals between Bernards and Columbia, the girls discover why sports have taught them life’s most important lessons. Filmed in a verite style, we witness the importance of sports in young girls’ lives. Columbia High School of Maplewood is the perennial powerhouse of the state and welcomes all types of kids onto its diverse team. Lead by a highly competitive coach, Bernards High School of Bernardsville is ranked by The Star Ledger as the #1 team in the state going into the season. We experience their year as members of the team go through practices, team dinners, tournaments, school, and adolescent life. Each girl has her own reasons for competing in the sport, which doesn’t penalize them for their race, economic, or gender. When the girls put on their masks, their individual life goals are what drives them to score and beat their opponents.

    [logline] => FENCING FOR THE EDGE follows the emotional and physical journeys of two girls’ teams as they compete in the world’s largest high school fencing league. 
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    [link] => https://www.wmm.com/sponsored-project/fencing-for-the-edge
)

Array
(
    [ID] => 164166
    [title] => The Coma Club
    [text] => THE COMA CLUB is a feature-length documentary that intimately examines the lives of a close-knit group of families who met in a VA hospital and have become full-time caregivers for their loved ones as a result of injuries sustained during America’s recent wars. Led by women, these families have formed a community they call the “Coma Club,” a nod to their loved ones’ condition - severe traumatic brain injury (TBI).

No area of modern medicine remains more mysterious than severe TBI, leaving these families uncertain about what the future holds. The injury impacts not only the patients themselves, but also those closest to them - creating a ripple effect as each family member adjusts to entirely new roles and relationships.

In the face of an unbelievable new reality, these families have forged something extraordinary: a community sustained by shared strength, irreverent humor, and an unbreakable bond. THE COMA CLUB reveals not only the impact of combat on families, but also the depth of love of those impacted. 
    [logline] => THE COMA CLUB follows four matriarchs as their loved ones emerge from comas caused by injuries sustained during America's recent wars. Moving between an annual retreat and their lives back home, the film offers a rare, intimate portrait of caregiving and the resilience of families living in combat’s long  shadow.
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Array
(
    [ID] => 160011
    [title] => Heist
    [text] => Our democracy is only as strong as the institutions that serve the people.

Recently, federal agencies have been weakened, stripped of personnel and resources or targeted for elimination. This systematic dismantling is not just policy - it is potentially a heist against the American people.

“Heist" introduces the audience to federal agencies and chronicles how agencies like the Consumer Financial Protection Bureau, USAID, NIH, Department of Education, and others have been weakened-and what this means for our future as Americans.

Told through powerful visuals and testimonials, this short film provides a glimpse into the erosion of public service and U.S. institutions.

Why This Matters

Federal agencies are not faceless bureaucracies. For many, they are lifelines. They ensure safe medicine, protect children, uphold civil rights, regulate financial systems, respond to disasters, and safeguard our health and environment.

Franklin Delano Roosevelt’s “New Deal” policies created many of these agencies to give relief to the unemployed and poor, stimulate economic recovery, and regulate and reform the banking system. Their dismantling directly impacts communities, families, and generations to come.

“HEIST” the documentary will:

Give a brief introduction and history about the Roosevelt Administration’s vision of a modern America and it’s creation of federal agencies.

Share information about what these federal institutions do for Americans and the Formation of the Department of Government Efficiency (DOGE) which is currently dismantling or shuttering them.

Provide the personal perspectives of federal workers who have been fired.

Create awareness about how the federal workforce was hit first - and now the American public is being targeted through proposed cuts to Medicaid, Medicare and Social Security.

Your donations will be used for film completion expenses.

    [logline] => 249 years to make. 100 days to break.
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            [alt] => A photo of a protest in front of the Capitol in Washington D.C., with an anti-Trump flag and "I'm a Veteran. Not a Sucker or Loser." Poster
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    [link] => https://www.wmm.com/sponsored-project/heist
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Array
(
    [ID] => 437
    [title] => River of Grass
    [text] => River of Grass addresses the Florida Everglades’ past, present, and future through Marjory Stoneman Douglas’s groundbreaking book, The Everglades: River of Grass (1947) which transformed popular perception of the land from a worthless swamp into a valuable river. Marjory was a Miami-based journalist. suffragist, and advocate for the Everglades until her death at 108 years old. Over haunting Everglades landscapes and an otherworldly soundscape, Marjory's observations of a shifting and developing South Florida contextualize present-day scenes in which a diverse cross-section of people navigate their relationship with a compromised place. Positioning past and present directly in conversation with one another, the film reveals how historical events inextricably shape the present. Together the stories build a complex collective map of a unique and endangered place.
    [logline] => A time-traveling guide channeled by the land recounts the Everglades’ violent past and warns of Florida's precarious future. Told through Miami journalist Marjory Stoneman Douglas's The Everglades: River of Grass (1947), the film explores how Florida’s vulnerability to climate change is historically rooted in the Everglades’ ongoing legacies of settler colonialism. 
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            [name] => river-of-grass-6
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                )

        )

    [link] => https://www.wmm.com/sponsored-project/river-of-grass
)