The Future of Film Is Female, Part 4

The ongoing Future of Film Is Female (FOFIF) program of independent films by women and nonbinary filmmakers returns to MoMA this summer. In the time since the series at MoMA launched, in 2018, changes around gender parity in the film industry have come in fits and starts, with bursts of progress shining through despite the persistence of longstanding institutional inequity. Through the years, the FOFIF program has aimed to punctuate these moments, highlighting the progress being made and filmmakers we believe will have a lasting impact on the medium and the industry. The fourth iteration of FOFIF at MoMA continues our focus on recent independent, international films by women and nonbinary filmmakers through standouts like Erin Vassilopoulous’s Superior (2021), Carlota Pereda’s Piggy (2022), and Anita Rocha da Silveira’s Medusa (2022), while also serving as a reminder of the important contributions made by women directors from the late 1970s to the 2000s with screenings of recently restored films, including Martha Coolidge’s Not a Pretty Picture (1976) and LaTanya Richardson Jackson’s Hairstory (2000). Part 4 also includes a special opening-night screening of Laura and Kate Mulleavy’s Woodshock (2017), featuring an indelible performance by Kirsten Dunst; a selection of short films—including Crystal Kayiza’s FOFIF-supported and Sundance award-winning Rest Stop—screening before some features; and screenings of Zola and Thoroughbreds presented by their respective film editors, Joi McMillon and Louise Ford.

The Future of Film Is Female is a nonprofit organization in New York with a mission to amplify all women and nonbinary filmmakers through its Short Film Fund, a commitment to exhibition programming, and ongoing community-building programs.

Organized by Caryn Coleman, guest curator, with Olivia Priedite, Film Program Coordinator, Department of Film.

Film at MoMA is made possible by CHANEL.

Additional support is provided by the Annual Film Fund. Leadership support for the Annual Film Fund is provided by Debra and Leon D. Black, with major contributions from The Contemporary Arts Council of The Museum of Modern Art, Jo Carole and Ronald S. Lauder, the Association of Independent Commercial Producers (AICP), The Junior Associates of The Museum of Modern Art, and Karen and Gary Winnick.