Educate/Incubate

NEW! WIF-PDX Educate & Incubate program is designed to help folks with historically marginalized access to the film industry (BIPOC, LGBTQ, disabled, women, people experiencing poverty) get their projects made and support career advancement in the film, media, and entertainment industry. Our goal is to help storytellers bring their work to fruition, ultimately diversifying our culture’s media. This diversification of stories is at the heart of WIF PDX’s mission and belief that we will only see clearly when everyone is allowed to offer their point of view. Through our program, Educate/Incubate, we will help local filmmakers make meaningful connections with professionals, learn new skills and create accountability with each other. 

EDUCATE will teach necessary skills to local filmmakers in 1 to 2 day workshops to help them get their next project made and/or help improve career marketability. Visiting and local filmmakers will give quarterly classes which will be open to the public and WIF members to attend.

INCUBATE creates a cohort of 5-10 local, early- to mid-career female directors that will be selected through an application process. They will have a particular project they want to bring to fruition,  which will take them to the next stage of their career. In addition to being in all of the larger EDUCATE seminars, the smaller INCUBATE group will meet regularly throughout the year with our mentors and guest speakers. The goal is to help the cohort bring their projects to completion through the program and the connections with each other and the larger community. 

This project was supported by a grant provided by the Creative Opportunity Program and Oregon Film – OregonFilm.org.

Additional support for this program is provided by filmscience and Open Signal.

Meet the 2024 Cohort

About The Filmmakers

Julianne Sato-Parker

Julianne Sato-Parker is a director and producer in Portland with 10+ years in the nonfiction film world. Two feature documentaries she’s directed/produced include “Solving for Zero,” (Gates Venture/Wondrium) and “Big Dreams in Umatilla,” (PBS). She’s worked on docuseries for HBO Max/Magnolia Network, branded docs for clients like Google, Nike, and Microsoft, and many documentary shorts for places like TIME Magazine, NBC, TED, as well as many nonprofits such as The American Journalism Project and Bloomberg Philanthropies. She is now producing a feature documentary on the frontlines of climate change with Academy-Award nominated director Skye Fitzgerald. She received h in er MFA in creative nonfiction writing from the University of Pittsburgh, and has spent the last three years reporting for and writing a book about the Chinook Indian Nation’s fight for federal recognition.

Symphony of Silence — Artist Statement:

I first read about acoustic ecologist Gordon Hempton in a newspaper article. I was amazed by his work. I’d never heard of environmental activism through the lens of protecting silence. It was a novel concept to me: if you save the natural quiet of a place, you end up saving the place itself. 

The summer of 2022, I was backpacking in Olympic National Park. The land was breathtaking, but it was the overwhelming quiet of these places that impacted me the most. The long stretches of day that would go by without a single car rumble or plane engine quieted every part of myself. I felt more peaceful and energized than I had in years. It reminded me of the story I had read about the acoustic ecologist seeking to record and save the last remaining quiet places on earth. 

So I reached out to Gordon and soon learned the way his story had shifted over the last decade. As Gordon told me about his recent hearing loss, he also told me about his new vocation: teaching the next generation of “sound keepers,” and in particular,  Josue Borman who is from the Amazon and who Gordon was mentoring. This layer spun the story into the future and set stakes that felt urgent and high: what happens if Gordon cannot find the right people to carry on the work he began? 

Gordon and Josue are guided by a simple principle: people protect what they love, and the only way to fall in love with a place is to experience it. Our film is guided by this idea. We want to create a cinematic experience that is sensory and immersive. We want viewers to feel as though they’re entering into another world when we go to these quiet places.  We believe we can create an experience of these places that is so alive, so ethereal, and so compelling that viewers will fall in love with them too.  

Protecting natural soundscapes as a way of conserving an ecosystem as a whole is something I think will surprise people, the same way it surprised me. I once read that storytellers often seek answers to questions they carry within their own lives. This has never resonated more deeply with me than through my work on this project. What began as a narrative that piqued my curiosity, quickly transformed into a journey of profound inspiration and self-discovery. If I had to distill this experience into one guiding principle, it would be encapsulated in a single word: listen. I believe Josue and Gordon’s story, and the natural acoustic landscapes they guide us to, have the power to shift how we connect with the natural world. I hope it inspires others to truly listen, not only to the soundscapes we capture in the film, but to the earth itself.

Melina Kiyomi Coumas

Melina Kiyomi Coumas is an award-winning filmmaker from the island of O’ahu. Coming from an experimental background and with a BA in Film, she shoots primarily on celluloid film formats with her works exploring themes surrounding memory, identity and place. Melina works as a film programmer and consultant, and is currently the programming manager and head shorts programmer at the Hawai’i International Film Festival.

Ocean Moon, Water Mother (海月 水母)

An elderly woman being priced out of her family home on O’ahu, Hawai’i must decide whether to leave the islands for good, or start anew with the help of an ancient island entity.

Artist Statement: Ocean Moon, Water Mother (海月 水母) is a 16mm short film shot entirely on O’ahu with a mostly AANHPI cast and crew. The story touches upon the forced exodus of Native Hawaiian and multi-generational residents due to overtourism, unaffordable housing, and the rising costs of living throughout the Hawaiian Islands (currently ranked as the most expensive state in the nation). It is a story about departure and rebirth but told through the lens of a surreal fable.

Link to fiscal sponsor for donations: https://www.filmindependent.org/sponsored-projects/ocean-moon-water-mother/

Sarey Martin Conception

The Winemaker is Sarey’s most ambitious short thus far. Her debut, “Father Mary,” played festivals and won awards in 2022. She’s been a finalist in Disney’s Launchpad program and Sundance’s Episodic Lab. She spent 10 years as part of the production and management team for Rob Zombie (“Lords of Salem,” “Halloween 2”) before getting a master’s in theology and focusing on her own storytelling.

She is passionate about elevating female voices, particularly in genre filmmaking–having been inspired by auteurs like Cronenberg, Lynch, and Jarmusch. Fostering mutual support and community throughout production is a priority for her.

Every person on my production team has a zone of genius, which making a movie brings out of them. Together, we make something that transcends the sum of its parts. The movie set makes sacred space for that excellence. Everything from Emily’s perfect schedule to Greyson’s “last looks” – all these parts are necessary and beautiful because they showcase a real person’s beautiful mind.

The Winemaker — Artist Statement:

We brought together a diverse team that was majority-female for The Winemaker. I didn’t realize until I was on set, seeing women and nonbinary people in so many key positions, how different that would feel. It was moving. When I was a child, a lot of the adults in my world told me that women shouldn’t have certain types of power or influence – in fact, “God himself” didn’t want us to.

In The Winemaker, a figure from Joanie’s past threatens a beautiful new world she’s created. Does she throw it away to preserve her life, or stay and face violence? Sci-fi magic presents a third option to her.

This is the beauty of genre storytelling (sci-fi, horror, fantasy). Surreal elements point out the “third option” available to all of us. Joanie has an “enchanted” vineyard, and you and I have a spark of genius acting as a guiding light, too.

I hope this story will encourage all of us, and especially women, to follow their spark. It’s the joy that lights up when you’re doing what you’re meant to do. I saw it all around me while I made this movie, and I felt it in myself, too.

Emma Josephson

Emma Josephson is a queer screenwriter, director, and commercial editor. Her writing/directing portfolio explores themes of searching for meaning and direction in our otherwise chaotic world. Her thoughtful and expressive stories are often illustrated through a surrealist lens. Emma’s films are a reflection of her upbringing and relationships, she seeks to share stories that anyone can find comfort & connection in. As a multi-hyphenate creative, she works on independent productions, branded content, and music videos.

As a freelance editor, she collaborates with JOINT, Sockeye, Lucky Day Weiden+Kennedy, Blue Chalk, for global brands such as Adidas, Nike, Target, Google, and Duolingo, as well as TV series for Food Network, Magnolia Network, and the Emmy Award-winning series for the Portland Trail Blazers, THE TRAIL. As a screenwriter, her work was nominated for a Student Emmy, and her films have received support through Film Pipeline, OMPA, Regional Arts & Culture Council (RACC), WIF, and Koerner Camera.

Emma’s award-winning narrative films have been official selections at prestigious film festivals such as Beyond Fest, Tacoma Film Festival, and Seattle Queer Film Festival as well as the Academy Award-qualifying Atlanta Film Festival & Dances With Films. After a successful festival run, with her award-winning dark psychological drama, BURY YOUR FISH premiered online with Short of the Week in ’23.

Recent short films on the festival circuit (in ’24) include; the coming-of-age experimental drama, I FELT LIKE MAGIC, shot on 35mm film, a lgbtq drama, SEW INTO YOU, as well as the surrealist buddy-comedy, DEAD BUDDIES. Upcoming from Emma, and currently in post-production, is her thriller short PERFORMANCE REVIEW, shot on 35mm, and the horror short, LEARNING TO MAKE FIRE, which she co-directed in a mentor role. Aside from narrative work she’s been directing the new live music session series Room For Four.

Performance Review — Artist Statement

Performance Review is inspired by my broken relationship with my estranged biological father. I’m the eldest daughter of a man who is an addict, narcissist, and psychopath. My dad lied, stole, and gambled away all our family’s savings. He forged my mom’s name on documents leaving her hundreds of thousands in debt all before I turned double digits.

This script is inspired by a scenario I’ve played over and over in my head. What if my dad came back? After all this time what would he even want? Maybe he’d want this “job” back.

Candace Fields

From childhood, Candace has been passionate about exploring and expressing their emotional landscape through visual mediums such as drawing, dance, and photography. Discovering that filmmaking uniquely combined their storytelling interests, they chose to pursue a career in cinematography.

Over the past decade, Candace has gained extensive experience on film sets of various sizes, working in multiple camera department roles. As a Director of Photography, Candace is particularly drawn to stories featuring queer characters, navigating trauma, or breaking generational curses. They are especially captivated by narratives set in surreal or fantastical realms that blend genres like horror, drama, and action. Candace is eager to continue contributing to and creating compelling stories through the art of cinematography.

Equity is a core value for Candace both in the workplace and beyond. They are committed to mentoring newcomers in filmmaking and prioritize working with underrepresented individuals in the industry. Recognizing that dismantling systemic inequities and patriarchal, racist, and heteronormative storytelling practices is an ongoing effort. Candace is dedicated to fostering a more equitable and inclusive film industry.

Learning to Make Fire — Artist Statement:

Learning to Make Fire explores the journey of moving forward after experiencing profound loss. It represents how life, specifically for queer folks and their chosen families, can persist beyond the deep pain of losing someone we’ve loved. Through the act of creating art, such as filmmaking, and drawing support from our community during times of need, we can find opportunities for transformation and healing.

Fuchsia Lin

Fuchsia Lin’s mission is leading innovative art that promotes the well-being of our planet. Fuchsia is a first-generation Taiwanese-American who works in the mediums of textile arts, costume design and film. She’s a 2024 Oregon Community Foundation Creative Heights Award winner, and has been called a “Portland visionary” by The Seattle Times. Last year, PBS featured Fuchsia’a story as a first-generation American artist on their OPB Art Beat TV program; this story was nominated for an Emmy Award. Fuchsia is a filmmaker, arts educator, guest lecturer and designer. She’s been commissioned by creative agency Wieden+Kennedy and The Oregon Ballet Theatre to create fashion for social activism campaigns and ballets. Fuchsia’s textiles, fashion and films are an ambassador for water environmentalism and the sustainable fashion movement.

Future Cosmos Flow — Artist Statement:

When my father passed away in 2014, I wanted to create a film that transformed my grief into beauty, and offer inspiration to our world during these chaotic times. Even deeper to the meaning and significance of the film, the Taiwanese grandfather reading this story to his granddaughter, a first-generation Taiwanese-American, was inspired by the familial stories my Taiwanese immigrant father told me as a kid. At the heart of this story is my love for the element of water. I have a lifelong connection with water that has impacted my life. In Future Cosmos Flow, I convey water as an other-worldly and powerful force that transforms pain into beauty. I’m inspired by the origin stories of ancient cultures and their respect for nature. I aim to show the relevance of these myths in our modern times, and create hope around the subject of climate crisis. We filmed Future Cosmos Flow on location all over the Pacific Northwest, where I’ve lived for the last fourteen years. It’s a treasure with some of the most stunning water landscapes in the world. It’s my goal to inspire my audiences and rekindle our relationship with Nature.

Megan Ward Stevens

Megan Ward Stevens is an award-winning film director from Portland, Oregon. Her short film, BEAST, won Best First Time Director at the McMinnville Short Film Festival, 2020 as well as Best Short Film at Oregon Independent Film Festival 2020. Most recently she was the showrunner’s assistant (Romanski) for Kill the Orange-Faced Bear for TBS. She has directed and produced numerous new plays, including Maple & Vine by Jordan Harrison, the world premiere of 99 Ways To Fuck a Swan by Kimberly Rosenstock and the world premiere of The Bullet Round by Steven Drukman, for which she received a Regional Arts and Culture Grant.  At Portland Center Stage she was the artistic and literary assistant, started a new works reading series and was the assistant director on numerous productions. Stevens produced the Young Playwrights Festival for Lakewood Theatre where she workshopped plays written by high school students with professional actors and mentor playwrights. She is a member of the Lincoln Center Directors Lab, a McMinnville Short Film Festival board member and holds a BA Honors in Drama/Theatre Arts from Goldsmiths College, University of London.

I Survived — Artist Statement:

Using comedy to deconstruct the horror genre & my true crime obsession, ‘I Survived’ focuses on the would-be minor characters in a horror film as they fight to survive an unsuspecting murderer. Set in a remote cabin, Josie and Matt, return from a wedding to find that they are not alone. Luckily, it’s just Sarah, another unsuspecting house guest,  and the three new friends decide to smoke a joint together on the patio. Feeling the munchies, Sarah goes inside. Still on the patio, Matt mocks Josie’s true crime obsession, while Sarah is murdered behind them inside. The fun of this script is the irony of belittling Josie’s fascination with true crime as it takes place behind them. Stylistically, the scene marries my two loves, theater & film. The interior of the home acts as a proscenium with the crux of the scene happening upstage as the “comics” discuss it downstage. I wanted to make a horror genre film that honors the style but removes the negative tropes about women. Both women are sexually adventurous, thus stripping the morality piece that has so strongly permeated the genre. Josie’s obsession with true crime is seen as being silly & “unnecessary”, until it is proven to be a real immediate threat. Josie survives, because her obsession has emboldened her to believe survival is possible.

Addison Woodside

Addison Woodside is a writer, director, and producer with an M.F.A. in Television, which is a dream come true for her younger self. Her undergraduate thesis film The Woodside Sisters Present was an official selection of the Portland International Film Festival in March 2020, though the screening was canceled in favor of a global pandemic. Their work often plays on elements of their real life with a focus on spirituality, global identity, and disability. She frequently collaborates with her husband Caleb Sng and her sister Kaiya Lind (née Woodside).

Granit — Artist Statement:

Granit came to us when we delivered for Doordash and spent all our time driving around Portland. My husband and collaborator Caleb blurted out, “what if we made Titane but about Big Pink?” I gasped. It was the perfect opening sketch for our comedy variety show Beaver State. The idea evolved to become more of a love story—and a story of city meets country—the thesis of our show about Oregon. Sometimes it’s easy for me to think that our state is defined by Portland vs. everyone else. But we know that the relationship between our cities and towns is more complicated, tense, and strange. One large, loud city gives vital context for the values and opinions of one faraway small town. We need each other to understand ourselves. Even if one of us is a pink skyscraper.  

Onyx Baird

Onyx is an accomplished scientist, devoted honeybee conservationist, and budding filmmaker. She holds an M.S. in Fisheries and Wildlife from Michigan State University (2015) and boasts over 14 years of experience in photography, creative direction, and event production. Onyx has showcased her work in solo gallery exhibitions and secured film grants from institutions like the Roger Family Foundation and the Regional Arts Community Council. She has contributed significantly to environmental education, particularly in conservation-style beekeeping, for the past seven years. Currently, she is engaged in a mentorship program with Women in Film (PDX), aligning her passion for art with her commitment to environmental advocacy.

Amrita — Artist Statement:

As a filmmaker, my core drive is to craft art that ignites a reconnection between humanity and nature, inspiring a reciprocal relationship. My focus revolves around capturing the essence of communities deeply intertwined with the earth, showcasing their harmonious and enriching way of life. Rather than dwelling solely on the bleak realities of environmental degradation, I strive to spotlight solutions, employing the beauty of our world as a catalyst for meaningful change.

Cara Ehlenfeldt

Cara Ehlenfeldt (they/them) is a director and producer working in audio and film. After completing their MA in Sound Arts and Industries at Northwestern, they began their career producing audio in New York City, working on podcasts and beyond with Radiotopia’s The Truth, Criminal, Nickelodeon, and more. They are currently part of the worker-owned audio production cooperative Mumble Media and work in podcast production and new show development. They live in Portland, where they spend their time hiking, making independent films, and trying to discover the newest weirdest thing.

Death’s Door — Artist Statement:

Death’s Door is a dramedic coming-of-age story with a supernatural twist—it’s about an introverted non-binary teen named Kaylee whose oldest friend is Death. When a fellow classmate dies, Kaylee tries to bring him back and learns how maturity comes not from extremes, but finding places between emotions, and even worlds.

Lyssa Samuel

Lyssa Samuel is an actor and filmmaker who loves creating at every stage of the filmmaking pipeline. She has self produced over a 100 comedic sketches, many of which were made during “Sketchtember”—a personal film challenge where she wrote, filmed, edited, and posted a new sketch everyday in September. As a Creative Producer at Ready Set, she directed the production of 30 social spots.

You can take a look at her work on her website or connect with her on Linkedin. When not behind or in front of the camera, you’ll likely find Lyssa strolling through her garden, in search of snacks.

Rash — Artist Statement:

Rash follows Val, a hyper self-critical med student who develops a mysterious rash just days before her board exam. Created as a quarantine project, I took on the roles of writer, director, performer, producer, and editor to bring this story to life in the safest way possible.Drawing inspiration from Aronofsky, Cronenberg, and Satoshi Kon’s Perfect Blue, Rash explores the self-destructive dangers of perfectionism. What started as an artistic challenge became a deeply personal journey, allowing me to process my own struggles with perfectionism. I hope Rash offers validation and encouragement to others dealing with similar struggles, especially fellow creatives navigating heavy personal growth.

Kenzie Bruce

Kenzie Bruce is a co-creative director at Blue Chalk Media and has produced and directed projects for clients such as Time, Washington Post Creative Group, Lowe’s, and Magnolia Network. Before joining the Blue Chalk team, she worked in visual communications roles at The Dian Fossey Gorilla Fund International and Denver Westword. She has a photojournalism degree from the University of Missouri. Firebreak is her first feature documentary.

Firebreak — Artist Statement:

Brandon and Royal’s story is so powerful because it shows the intersection of two of the most important and widely felt issues in the United States: social justice and climate change. Beyond that, their story is exceptional because they created an impressive solution. However, I want to emphasize that point. These men are exceptional. And you shouldn’t have to be an exceptional person to have access to a career training program or to have assistance reentering society.

https://www.firebreakfilm.com

Roxy De La Torre

Rooted in her Latina identity, Roxy De La Torre masterfully navigates the complexities of cultural heritage and adaptation in the U.S.  With over a decade as a news anchor for Univision, she gained a deep understanding of the challenges facing the Latino community. Expanding her influence to a broader American audience through her work with OPB, Roxy’s storytelling highlights resilience and celebrates cultural richness. Now, as the founder of SOMOS Media, she is fiercely dedicated to producing films that confront pressing social issues while honoring and uplifting cultural diversity.

YEMAYÁ — Artist Statement:

“YEMAYÁ” is more than just a film—it’s a deeply personal project born out of my years of work as a journalist. Throughout my career, I’ve encountered countless stories of heartbreak, particularly those of families who have tragically lost loved ones to drowning. These experiences have left an indelible mark on me, and it became clear that something needed to be done to raise awareness about the dangers lurking in our waters.

This short film is a fictional yet powerful cautionary tale that honors the water goddess Yemayá, who, in many cultures, is a protector of the seas. In the film, the ocean serves both as a source of life and a looming threat. It forces viewers to confront the critical issue of water safety, which is often overlooked until it’s too late. My goal is to move audiences to take action, especially in communities where swimming skills are limited, and the risks are highest.

At its core, “YEMAYÁ” calls for a deeper understanding of how we engage with water, from recreation to culture, and how we can better protect our most vulnerable—our children. It’s a story that must be told to prevent further tragedy, and it’s my hope that this film will spark change, save lives, and inspire communities to take action.

Your support can turn this story into a life-saving tool, and I am incredibly grateful for any help you can provide. Together, we can make a difference.Support Here: Link to Seed&Spark Campaign

Summer Luu

Summer Luu (she/they) is a first generation Vietnamese-American film director, producer, cinematographer and video editor based in Portland, Oregon. With a background in photojournalism, their work has a candid yet disruptive documentary style of approach. Drawing creative inertia from personal experiences, their passion is to connect and collaborate with individuals on a liberated and unbound artistic level.

https://www.summerluu.com

Yellow Balloon — Artist Statement

This is a love letter to my grandparents for showing me, early on, the complexities and layers of love.  The story came to me when my father passed away from colon cancer in January 2020 and I was visiting my grandmother more often. The recollection of memories of my family mixed with grief paved the way to take a deeper look into the processing of trauma. Listening to stories from my grandmother helped define the theme and story. From the beginning of this project, I wanted to create this with an all Asian-American film crew, and hopefully, a majority Vietnamese-American, because language and culture is so important to this film. ‘Yellow Balloon’ advocates for original storytelling, inclusivity within creative collaborations, and highlighting voices from underrepresented communities. We’re here to be the ones to break our family’s generational trauma. This is for you, Ông Bà Nội.

https://www.yellowballoonfilm.com
https://www.instagram.com/yellowballoonfilm