Caroline Libresco: Money, networking major issues for women independent filmmakers

Caroline Libresco during an interaction Photo credit: Special Arrangements

“The independent film movement in India is at a nascent stage. I see an opportunity for growth,” said US-based film curator and creative producer Caroline Libresco during a brief interaction at American Corner, St. Francis College for Women, Hyderabad.

Interacting with students and independent filmmakers in Chennai and Thiruvananthapuram before coming to Hyderabad, Caroline will encourage female independent filmmakers in both the feature and documentary categories, hoping to work on better pitching and developing their projects and seek financial support. He will also meet filmmakers in New Delhi.

Caroline is armed with the experience of being one of the main programmers of the Sundance Film Festival for almost two decades until 2019. She served as director of the Sundance Women’s Initiative (2012 to 2019) and was the founding director of Sundance Catalyst (2013 to 2019), through which she helped build a community of over 100 funders, raising more than $31 million for 89 films. , among which is notable Writing with Fire, Truffle Hunters, Crip Camp, Won’t You Be My Neighbor? And The Witch.

Talking about her sessions with students and filmmakers in India, Caroline says the focus is on networking and financing as well as solving issues related to project development and helping them pitch their stories better.

Reflecting on what led her and like-minded collaborators to the Sundance Women’s Initiative, Carolyn says the 2000s and 2010s were pivotal decades for the American independent film movement. “In 2010-11, we had the impression that women were not doing well in Hollywood and in the independent film space. We need to identify barriers and fix them; This required our research. Because no one can argue with evidence.”

With the help of USC Annenberg researchers led by Stacey L. Smith, a study was conducted to identify issues related to independent female directors and producers. “Based on the research, we designed our program. Financing and access to male-dominated networks and knowledge were issues to contend with. We found that there was a long gap between first and second films for female directors, whereas male directors made films in quick succession,” says Caroline.

The programs were designed to bring together high net-worth individuals who can finance films and women filmmakers who need financial support.

On a larger level, Caroline believes that systemic change is needed to provide equitable opportunities for women in cinema.

In India, Caroline hopes that film producer Guneet Manga leading the Women in Film India chapter is a step towards paving the way for gender equality.