BEEHOLD: An Animated Project Created by Alumnx Paula Allen (’16) and Kids!

VCFA MFA in Film alumnx Paula Allen (‘16) recently completed a new animated short film, BEEHOLD. BEEHOLD tells the story of what the future will be like for bees and was created with over 200 children’s drawings and animations. Children who participated in the project  hailed from Florida, New York, and Pennsylvania. Paula enlisted Bradley Turner (’17), an alumnx from VCFA’s Music Composition Program, to compose and score the film to exciting results. 

Check out the trailer, as well as a fun interview we recently had with Paula and Bradley about the film and their collaboration, below:

Tell us a little bit more about how this idea came to fruition and your collaboration with your students?

Paula Allen: Most of the drawings for the film came from elementary-aged children (kindergarten, grade 1, and grade 5), with a few students in high school creating a few drawings. In terms of the animation piece, my online students, who are middle school-aged helped with the broad themes/ideas, scenes, animation, backgrounds, and more. BEEHOLD  has been a real “kid created” film, I was just a guide for them really.

What is the final running length of BEEHOLD the film?

PA: The film is 8 minutes long. I wanted to keep it to 5 minutes, but there was just so much art and so much going on, I didn’t want to cut too much! 

For the score you brought in another VCFA alumnx, Bradley Turner from the Music Composition Program. Tell us a little more about that collaboration. 

PA: Bradley understood the project right from the start. Even before the story was completely fleshed out, I knew he was going to give us what we needed and I trusted his choices. Scenes were enhanced and overall more successful because of the sounds and music composition, even just small choices, like waiting a few beats to emphasize on a certain movement, made a big difference. In one scene, for example, we have an army of pesticide bottles that are marching–Bradley did an amazing job emphasizing that movement with sound.

Bradley, can you talk about your collaboration with Paula? Did she give you an initial sense of what she was looking for in terms of the music, or did you jump right in with your own ideas?  

Bradley Turner: When I saw Paula’s call for a composer, the description of the film and what she needed musically sounded similar to Don DiNicola’s animated short film SPACE GERM for which I did the music and sound design last year. I sent her a link to SPACE GERM and also told her about a couple of other VCFA alumnx with whom I had worked (Justin Scotarczyk and Martin Castaneda). Paula sent me a rough storyboard/outline she had created that gave me a broad sense of the story with a few mentions of where there would need to be musical cues. This gave me a good idea of what I would be creating long before the film had been animated.

The film has no narration. What elements helped you determine the direction(s) you would take with music and sound?

BT: Paula’s storyboard as well as the use of text in the film helped provide narrative direction. The overall idea of a bee moving from a peaceful sanctuary in nature to a dystopian future and eventually finding some form of that safety again, felt full of musical possibility.

Bradley, you’ve worked with a few students and alumnx from the MFA in Film now. Does anything about your shared VCFA experiences lend itself to successful collaboration? 

BT:  Everything about my experience at VCFA set me up to be an effective collaborator. The constant flow of ideas between students and faculty had an enormous impact on how I work. My study every semester was ultimately a collaboration between me and my faculty advisor, as well as the various faculty members I’d consult with along the way. That experience allowed me to not only be comfortable getting and giving feedback, but to rely on that give and take in my creative process. 

PA: Bradley and I are working together on my next animated film which will be about sea turtles and plastic pollution in the oceans. We just “get” each other, and I am lucky to have him on board!

Instilling a love of art, activism, and meaning-making in young people is so important. What are you most proud of in terms of this project and the awareness it brings to important environmental issues?  

PA: Well, first, children by the hundreds went home and taught parents not to buy Neonic poison flowers at stores, they asked parents to plant more native plants in the yard, and they asked neighbors not to spray their lawns. I had a parent take $100 worth of plants back to the store because they were labeled as treated with Neonic chemicals, so that is something!

BT: The film’s environmental message immediately made me want to be involved. Furthermore, the fact that this project was animated by school children added so many layers of purpose to the film. As a composer, I feel like a large portion of what I do is rather self-serving. I spend days creating things, unsolicited, simply because I feel they’re important. Getting to work on a film that has undeniable purpose is such a lovely opportunity. 

PA: BEEHOLD started as an idea that flourished far beyond what I ever expected. I am extremely proud of everyone who did a drawing, who painted a flower, who animated a scene, and who even just chose to not pull a weed (dandelions are good for bees afterall!). BEEHOLD’s message is told atypically, we go forward in time, we see how much damage can be done, we heal the problems. That is the biggest message: To not destroy nature, to protect it, to keep it safe–all of it, not just the bees.

So great, thanks for taking the time!  BEEHOLD premiered in December 2019 and has been screened at various schools. The film has also recently been submitted to several film festivals, so more news on that front soon. Additional press on the film can be found here.

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Alla Kovgan’s CUNNINGHAM to premiere at TIFF, U.S. premiere at NYFF

Current VCFA film student Alla Kovgan’s film, CUNNINGHAM, will have its world premiere at the Toronto Film Festival on September 6th and 7th, 2019, and its U.S. premiere at the 57th New York Film Festival, on September 29th and October 1st!

Thom Powers from TIFF writes of the film:

The iconic Merce Cunningham and the last generation of his dance company is stunningly profiled in Alla Kovgan’s 3D documentary, through recreations of his landmark works and archival footage of Cunningham, John Cage, Robert Rauschenberg, and more.

Even for those who know little about dance, Merce Cunningham is a recognizable name — an iconic figure in his field. His mid–20th century collaborations with composer John Cage (his lifelong partner) and visual artist Robert Rauschenberg were central to an era of transformation. Cunningham resisted “avant-garde” or any other label. “I don’t describe it. I do it,” he once said.

Now, with Cunningham, we have a chance to experience what he did. Filmmaker Alla Kovgan assembles the last generation of Cunningham dancers (led by Merce Cunningham Dance Company assistant director of choreography Jennifer Goggans) to present landmark works from the Cunningham repertoire. The film concentrates on the three decades from 1942 to 1972 when Cunningham was making his reputation. Gorgeously shot in 3D, Cunningham brings us closer to these works than any audience has ever been before. Taking an inventive approach with locations, the film places dancers in evocative backdrops such as a tunnel, a high-rise rooftop, and a forest.

These current-day performances are interlaced with archival footage of Cunningham speaking and moving. We also hear illuminating interviews with Cage, Rauschenberg, and members of the original Merce Cunningham Dance Company, who endured years of rejection and outrage before they slowly won over audiences.

“I never believed that idea that dancing was the greatest of the arts,” said Cunningham. “But when it clicks, there’s the rub. It becomes memorable. And one can be seduced all over again.” Whether you come to Cunningham as a neophyte or an aficionado, you’ll leave with a rich experience of his art.

Earlier this year Magnolia Pictures acquired distribution rights to the film. Magnolia president Eamonn Bowles said at the time, “Alla Kovgan’s stunning cinematic tribute to the genius of Merce Cunningham is destined to end up as a classic of the genre. We’re thrilled to be bringing it to the public.”

Congrats Alla! We can’t wait to see the rave reviews roll in!

Born in Moscow, Kovgan has divided her time between Europe and the US working with dance and film collaborations on screen, VR and in theatre. In addition to directing, Kovgan has a strong background as a documentary writer and editor. Her film NORA has received 30 awards in every genre and was broadcast worldwide. She co-wrote/edited the Emmy-nominated TRACES OF THE TRADE (Sundance, PBS), MOVEMENT REVOLUTION AFRICA (ZDF/ARTE) and edited MY PERESTROIKA (Sundance, PBS). Her first VR piece with Finnish music duo Puhti DEVIL’S LUNGS won Grand Prix at the Vienna Shorts Festival, which made her an artist-in-residence at Vienna’s Museum Quarter 21 in 2019. Kovgan will graduate from VCFA’s MFA in Film program in the spring of 2020. Kovgan wrote and directed her most recent film, CUNNINGHAM.

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Filmwax Radio Interview Series: VCFA Alumnx Jason Rosenfield

VCFA is proud to be partnering with Filmwax Radio for a special series of interviews featuring VCFA alumni. The third installment of the series is with editor Jason Rosenfield ACE (’18) whose projects include, among many, the documentaries LOST FOR LIFE (2013), SWIFT CURRENT (2016), and BREAKING POINT: THE WAR FOR DEMOCRACY IN UKRAINE (2017), as well as the Amazon docuseries LORENA (2019). In the interview Jason also discusses his VCFA thesis project, Everything Matters, a memoir about editing and his journey over the decades in the profession. [Jason’s rich and captivating memoir will–without a doubt!–be published sometime in the near future with broad appeal for filmmakers and general readers alike. Stay tuned for more news on that front!]

Be sure to have a listen–enjoy!

The podcast is also available on iTunesStitcher, Spotify, Google Play & Youtube.



You are writing the final draft, in essence. It all happens in the editing room… It is a huge responsibility and you have to honor that responsibility.
-Jason Rosenfield, on editing

What I am talking about is making an experiential film, as opposed to an informational film. The goal is to have the audience go on a journey with the characters… not relaying information, but reliving an experience… I learned how to speak body language, and if I knew how to speak it, I knew how to read it…
-Jason Rosenfield, on character driven documentaries



Jason Rosenfield, ACE, is a three-time Emmy Award-winning film editor recognized for his storytelling and stylistic skills in character-driven long-form documentaries, feature films, and television series. Jason’s narrative credits range from Robert Altman’s classic COME BACK TO THE 5 & DIME JIMMY DEAN, JIMMY DEAN to the improvisational television comedy FREE RIDE.  His documentary credits include the Oscar-nominated BLUES HIGHWAYHBO’s Emmy-winning Memphis PD and Teen KillersDick Wolf’s groundbreaking NBC series Law & Order: Crime & Punishment and CNN’s The Seventies.  He has collaborated with three-time Oscar-winner Mark Jonathan Harris on Netflix’s award-winning LOST FOR LIFE and SWIFT CURRENTboth directed by Joshua Rofe, and Harris’s own BREAKING POINT: THE WAR FOR DEMOCRACY IN UKRAINE. Additional production awards have included an RF Kennedy Award, DGA Award and Peabody Award, as well as three Emmy Awards and multiple nominations.

In 2001, Jason was elected to membership in American Cinema Editors [ACE], an honorary society of distinguished editors.  He has served as Associate Director of the ACE Board and three terms as Governor of the Television Academy, where he has developed and produced a number of symposiums and ongoing panel series. A Professor at USC’s School of Cinematic Arts Masters Program as well as Columbia College – Hollywood, Jason is a Mentor at the Stowe (Vt.) Story Labs Screenwriting Workshop and serves as story and editorial consultant for independent films.Adidas footwear | 『アディダス』に分類された記事一覧

Ian Cheney’s (’18) films, THIRTEEN WAYS and PICTURE CHARACTER, premiere


Alumnus Ian Cheney’s (’18) thesis documentary, THIRTEEN WAYS, will screen at the DC Environmental Film Festival on Thursday, Mar 21, 2019.

A series of scientists (and, for good measure, a few nonscientists) travel to a plot of Maine land they have never seen before. One-by-one, through all four seasons, they walk the land and describe what they see. What unfolds is an unusual meditation upon the human relationship to the natural world and the power of different ways of seeing.

PICTURE CHARACTER, directed by Cheney and Martha Shane, will premiere at the Tribeca Film Festival in NYC on Sunday, April 28, 2019.

Emojis (Japanese for “picture character”) have emerged as a way for billions to communicate. Their widespread use and ability to convey complex and subtle feelings could mean the world is on the cusp of discovering a new language. Directors Martha Shane and Ian Cheney take us deep into the world of picture characters, from the private non-profit international consortium that standardized emoji offerings and decides on the introduction of new ones, to the campaigns for new emojis such as those depicting menstruation and Argentinian mate, and to the very beginnings of emojis in Japan. 

Picture Character follows the path of smiling poops and heart-eyed faces, tackles the development of skin tones, and tracks the evolution of the global digital language. Like a good use of a chin scratching emoji, the documentary is both thought-provoking and fun, and it will insure that viewers never look at another emoji, or think of language itself, the same way again.  (Sudeep Sharma)

Be sure to check out the full lineup of 2019 Tribeca Festival films.

We expect to see both of these films have a busy festival year–stay tuned!Adidas footwear | Air Jordan

Alumni Spotlight: Angelique Webster’s (’18) short doc RESPECT AND LOVE

Angelique Webster’s thesis short doc RESPECT AND LOVE is on fire! In addition to past screenings we highlighted last fall, here is a round up of upcoming film festival showings, with no doubt more on the way! (Keep on eye out on RESPECT AND LOVE’s official facebook page to keep apprised of all of the details.)

March 2019 Events:

Women in Media Film Festival– Newark, New Jersey

Rapid Lion Film Festival– Johannesburg, South Africa

POW ( Portland Oregon Women’s) Film Festival– Portland, Oregon

Universe Multicultural Film Festival -Rancho Palos Verdes, CA

2019 New England Graduate Media Symposium– Boston, MA

April 2019 (and beyond) Events:

American Doc Film Festival–  April 2019 Palm Springs, CA

Langston Hughes Film Festival– April 2019 Seattle Washington

Creatively Speaking Double Exposure Film Series– Maysles Documentary Center June 2019  Harlem, NY

It has been said that Gloria was the first African-American woman to sue the Catholic Church. RESPECT AND LOVE is a short experimental documentary, in which the filmmaker sits down with her mother 30 years later to gain insight on how those experiences have shaped her mother’s life.



We recently caught up with Angelique and asked her a few questions, here is what she had to say:

RESPECT AND LOVE is a deeply personal story for you and your family, in what ways did the concept change or evolve from the start of the project through its completion?

I think the major change to my film was adding my voice. My plan was to use my mother’s interview to tell the story. As I was going through the footage I realize that strong transitions were missing. Along with the need for smooth transitions, I decided to juxtapose my thoughts along side of my mother’s. The two storylines made the film fuller and much more three dimensional.

What is the most valuable piece of advise, feedback, or inspiration you received here at VCFA as an MFA in Film student?

The most valuable feedback I received while at VCFA was to go out on a limb and try something different. I never imagined that I would write a script, but I did. I was nervous and not very confident… but had really great support and feedback. It actually felt good to write. With the next film I am working on, I have started with writing. The writing allows me to see themes and ideas that may be useful with making a stronger piece.

Where do you see yourself and your work in the next 3 years?

In the next 3 years I see myself teaching, making films, and creating a community space for inter-generational filmmaking projects.

Angelique Webster is a filmmaker and educator. She  is a graduate from Lincoln University and received her MFA from Vermont College of Fine Arts in April 2018. Since 2003, Angelique has worked with community members to use media as a tool to share their stories and promote the importance of media literacy. She recently finished her first short film RESPECT AND LOVE. She lives in Worcester, MA with her wife Isabel and 3 year old daughter Vivian.



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Alumnus Jay Koski’s (’16) THE PEPIE LEGEND’s latest festival showing, plus short doc BAIT SHOP screens

Alumnus Stewart Jay Koski’s thesis documentary, THE PEPIE LEGEND, will screen at at the Wildwood Film Festival  March 22nd-23rd, 2019. This will be the third festival showing for THE PEPIE LEGEND, with more to come!

About the film:Full-time folklorist and book author Chad Lewis reveals a 150-year-old legend that continues to resurface in modern day. In an attempt to solve the puzzle of this long-sought legend a $50,000 reward has been offered for indisputable proof of this Midwest lake monster. Filmed entirely on location.

Additionally, Koski’s short doc, BAIT SHOP, which he also created while here at VCFA, is an official selection to the Speechless Film Festival March 29th-30th, 2019. Films selected for this festival celebrate the art of visual storytelling with little to no footwear | 2021 New adidas YEEZY BOOST 350 V2 “Ash Stone” GW0089 , Ietp

Alumna Kathy Bruner’s (’17) feature length documentary, LAST YEAR AT THE CROSSING, screening at the Big Sky Documentary Film Festival

Alumna Kathy Bruner’s (’17) thesis feature length documentary LAST YEAR AT THE CROSSING will be screening at the Big Sky Documentary Film Festival in Missoula, MT on February 16th, 2019.

About the film: A heartbreaking, raw and ultimately hopeful story of four teens trying to earn a diploma at a last-chance high school in Indiana. Their struggle against hopelessness, drug culture, failed family structures and poverty is met by a dedicated school administrator who tries to help them rise above their circumstances.Best Authentic Sneakers | Nike Air Max 270

Alumna Angelique Webster’s (’18) thesis film, RESPECT AND LOVE, to screen at the Smithsonian African American Film Festival

VCFA MFA in Film alumna Angelique Webster’s (’18) thesis documentary short, RESPECT AND LOVE, will be screening at the Smithsonian African American Film Festival at the National Museum of African American History & Culture in Washington D.C. on Friday, October 26th!

Through a frank conversation about past sexual abuse by a priest, a mother and daughter get to know each other and re-imagine their relationship.

Angelique screened this beautiful film at her graduating residency last April. We were so lucky to not only get to see it but to get to meet her incredible mom and adorable daughter too! We are thrilled this film is reaching a larger audience and can’t wait to see where it lands next!

Angelique Webster is a filmmaker and educator who graduated from Lincoln University in 1996 and received her MFA from Vermont College of Fine Arts in 2018.Running sport media | Nike

Alumnus Daniel McGuire’s (’17) thesis doc, BALIAN (THE HEALER), premieres


Daniel McGuire’s (’17) thesis film, a feature documentary, BALIAN (THE HEALER),  premiered at the Middlebury New Filmmakers Festival in August 2018. The film will be going on to screen at the Newburyport Documentary Film Festival (September 2018), the Santa Cruz Film Festival (October 2018), and Filmfest 52 in Bethel, CT (TBD), with more festival showings to come. We are so excited to see this film out in the world!

A visually provocative film shot over 20 years, BALIAN (THE HEALER) is an engrossing fable of globalization. It tracks the remarkable rise and fall of a Balinese healer and priest after he is discovered by Western tourists.



“A magical portrait of a one-of-a-kind Indonesian trickster/healer.”

-Alan Berliner (Nobody’s Business, Wide Awake, The Sweetest Sound)

Check out the trailer below:

Daniel McGuire is a filmmaker with two decades of experience in feature films, documentary, electronic press kits, web-based media, multi-camera event shoots, ethnographic, industrial and training films. He is based in the Boston area where he has covered stories for Good Morning America and Inside Edition as a Field Producer, and for Al Jazeera English as a Correspondent. He frequently covers stories related to Health, Science, Technology and the environment at Harvard and MIT.

McGuire has worked as a correspondent for ABC News in Indonesia, where he covered politics and environmental issues. Fluent in Indonesian, he directed and produced the feature documentary “Crash Course: The Indonesian Student Revolt” (selected for the Rotterdam Film Festival). BALIAN (THE HEALER), premiered in August 2018. He has taught film and video production at the University of Northern Illinois and teaches seminars in video production for journalists. McGuire holds a BA from Wesleyan University, an MA from Northern Illinois University, and an MFA from the Vermont College of Fine Arts.

Be sure to follow the film on Facebook.

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Courage in the Extreme: On Till Schauder’s Latest Film “Warriors of Faith”

Article by Cameron Finch

It is just before noon on a sunny day at an outdoor Dusseldorf shopping center. Pigeons, hungry for crumbs, bob and weave through stroller wheels and fashionable feet. In the mall’s center plaza, two women sit on a bench eating ice cream. A child bends down to pet a dog. A man walks out of the Apple store with a new smartphone. A voice yells out, “Get down. Down!” A man in all black—his face covered, too—walks through the plaza, wielding a sparkling saber in one hand. His other hand is gripped around the neck of a prisoner, pushing the man down into submission. The prisoner wears an orange jumpsuit; his hands are tied behind his back. The man in black yells, “Put your head down,” and demands the prisoner to kneel. A gun is now pointed at the prisoner’s head. The glowing signs of H&M and Esprit pulse red behind the men.

Despite this act of violence, the women continue to eat their ice cream. The child scratches the dog behinds its ears. The man continues to walk, more interested in his newest gadget than the terrorism behind him. A young Arab man stoops in front of the execution site with a tripod camera, presses Record, and steps up to address the small crowd that’s now forming. He speaks to them in German: “What you’re seeing happens a hundred times a day in our countries. If I’d lie here with my head chopped off, would you do something then? We’re against this, against murder, against terror. But we have to see images like this. We have to wake up and do something against it.”

These men are not terrorists. In fact, they are anti-terrorists, working together to curtail the popular trend of radicalism found among Muslim youths in Germany. They call themselves 12thMemoRise and are the subject of award-winning German filmmaker Till Schauder’s latest film, Warriors of Faith, which recently won a German Emmy for Best Documentary in 2017.

While Schauder’s films, including The Iran Job and When God Sleeps, are classified as documentaries, it is the telling of a narrative story that drives all of his films. Rather than present a theme or subject, Schauder takes viewers on a journey full of deep conflict, intimate revelations of emotions, and dynamic transformations of selves within a dangerous and political world.

Warriors of Faith continues this trend as it follows Iraqi-born German citizen Hassan Geuad and his group of young German Muslims (12thMemoRise), who initiates a campaign geared against ISIS on Facebook and in crowded public spaces, such as the shopping mall shown in the scene above. Their main tactic is to utilize the visual shock of performance art to make their bold statements. For example, the group frequently simulates live executions, modeled after real ISIS footage. Their intent is to provoke a more vigorous response from German residents to the terrorism pervading Germany. Throughout the film, we see that their message is often misunderstood as supporting extremism rather than condemning it. However, their bravery and perseverance in the face of danger and defeat is inspiring. “We are Muslims,” the 25-year-old Geuad tells DW. “We are not former Muslims or Islam critics. And that’s our advantage. We speak out against terrorism.”

The film was shot on commission in 2016-2017 after a producer in Germany asked Schauder to participate in a pitch competition on the topic of “Extremism.” His list of potential subjects for the film included high profile terrorists and neo-Nazis. The members of 12thMemoRise were at the bottom of the list. Speaking about why he was compelled to choose them and follow their story, Schauder says he found their story “brave…The imperfection of it all was charming.”

Schauder describes his approach to filming as similar to a fly on the wall. “Always keep the camera rolling,” he says, “then cut out scenes and rearrange them later.” Once he knows the story he wants to tell, he can begin to subtly direct scenes or guide the camera’s eye to show certain elements. Schauder knew he had a story filming when the group had their “crisis” and almost broke up, which was then followed by a resolution and plans to make a come-back.  

Much of the film relies on tension and stress. At any moment, we feel as if something could go horribly wrong. We see human nature at its rawest: full of doubt, fear, anger, determination, and faith. The stress of Hassan’s internal crisis as leader of 12thMemoRise is doubled by the external terror of the world we live in today.

As any seasoned filmmaker knows, when shooting hundreds of hours of people’s personal lives, there is bound to be uncomfortable and delicate scenarios. In one scene of the film, a member of 12thMemoRise, Ahmed, is having a heated argument with his family. We the audience listen along with the camera outside of the closed door. We see shadows moving behind the glass. Navigating this liminal space of both giving respect to his subjects, yet still being privy to their conversation is a thin line. Yet, Schauder states: “I don’t censor myself when I’m shooting.” However, before releasing the film, Schauder shows these potentially revealing scenes to the family for their approval because “their safety and privacy is key.”

Speaking of safety, shooting scenes of simulated ISIS executions and slave markets in public arenas is not exactly a walk in the park. Similar to his previous shooting of “When God Sleeps,” high security was necessary to protect Schauder and his crew in case ISIS was to attack them or the members of 12thMemoRise. But as Schauder points out in the podcast, Art More Than Ever: “[To make films], you have to be flexible and persistent…and probably a bit crazy.”

It’s difficult to boil down all the intricate and provocative details of this film into one phrase, but the heart of Warriors of Faith has to be the “exploration of extreme courage.” Indeed, what these young men and women of 12thMemoRise are doing is dangerous in today’s world, but tremendously necessary. Schauder says: “They are not apostates who say ‘Fuck You.’ They are practicing Muslims, and it takes real courage to challenge a religion and reform it from within.” Yet, how can these stories be told without the courage of a filmmaker willing to risk his own safety in order to bring them to a broader audience? In this way filmmaking, too, works as a kind of activism, and serves as a catalyst for the fight against terrorism.

Cameron Finch is a second-year MFA in Writing & Publishing candidate at Vermont College of Fine Arts. She is the managing editor of Hunger Mountain: The VCFA Journal of the Arts and an intern for the VCFA Publications/Marketing Dept. In addition to writing creatively, she also freelances for Michigan Quarterly Review and Buzzworthy Media. Learn more about her at





Till Schauder is a Brooklyn-based writer, director, and cinematographer. His films have premiered at major film festivals around the world including Tribeca, Berlin, and Tokyo, and are funded through grants, partnerships and co-productions with organizations like the Sundance Documentary Institute, Fork Films, The Catapult Film Fund, The Jerome Foundation, NYSCA, Film und Medienstiftung NRW, FFA/German Federal Film Board, ITVS, ARD, ZDF, ARTE and many others. His films include: SANTA SMOKES,  THE IRAN JOBWHEN GOD SLEEPSWARRIORS OF FAITH (GLAUBENSKRIEGER), and REGGAE BOYZ. In addition to teaching at VCFA, Schauder teaches film at NYU’s School of Continuing and Professional Studies and is a frequent guest speaker at other film schools.

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