Women at Work: Maria Akay
I met Maria during the first film festival I ever worked in, which was my first job in the industry altogether. The work culture at this particular place left much to be desired, so you can imagine how relieved I was to find a like-minded person at the office who loved cinema and chicken fingers as much as I did.
Today, Maria is sharing with us her knowledge as a producer of films and film festivals, including her appreciation of the cinematic experience.
Maria looking fresh-to-death at the NYC Independent Film Festival
Maria’s love affair with film began in her hometown of Queens, NY, years before she first stepped foot inside a multiplex. While growing up in Woodside, Maria would frequent her local cinema, fondly recalling the time she spent there as a bonding experience with friends and family.
“It went out of business a year ago, but that small five-screen theater really impacted me and made me think that an intimate environment should only be reserved for watching a movie.”
Maria’s passion for all things cinema is best exemplified through the results-driven work she’s conducted on numerous sets and film festivals across the city. A few months after getting her start as a volunteer at the New York City Independent Film Festival, Maria was swiftly promoted and hired as the festival coordinator, no small feat for a young woman fresh out of college.
“During my time as coordinator, the festival had a lot of growth, and I was helping manage a small but mighty team. A year after being hired, I was promoted to festival director, which was very exciting. I'm proud of what I was able to accomplish at NYCIFF during my time there and am grateful for the people I met and long-lasting connections, like with you!”
Aw-shucks!
From left to right, Amber Rose Tamblyn, Meredith Talusan, Allison Brzezinksi (founder), Juliet Izon, and Maria Akay, pictured at the Nasty Womxn Unite Fest, a non-profit festival aimed at amplifying womxn creatives and advocating for intersectional feminism
When did you first realize that you loved cinema?
When I discovered The Fifth Element at 11 or 12 years old, my mind was just blown. I couldn't believe this entire world was created just to watch on screen; I was so enamored by the costumes and score and set design, for all of it to be set in space just really opened my eyes to the magic of creating a world unlike ours. As I got older and realized the difficulty in translating the reality of life on screen, that made me appreciate cinema even more.
Great movie. Similarly, was there a specific moment or film that helped you decide to pursue a career in the industry?
There wasn't one moment that clicked for me. While cinema amazed me from a young age, I was raised to think practically when choosing a career (see: not in the arts). It was only after not being able to find a job after graduating college I decided to volunteer for film festivals until I found something more steady, which only led to a full-time job at a film festival a few months into volunteering. Somehow it just snowballed from there over the past six years.
What kind of films are you interested in producing and why?
Early last year, I made a goal to work with more women and Latinx creatives— not just in films but also in producing events. It's important for me to work on projects I can relate to, projects that relate to my identity as a woman and Latina. I often find myself collaborating with the same people. I've found collaborators that I trust and want to uplift and have stories worth telling.
What movies do you consider to be essential viewing? I want to know what’s in Maria’s Criterion Collection.
Eliza Hittman's Never Rarely Sometimes Always, Alejandro Landes' MONOS, and just because it's in the ether right now ahead of its streaming debut... Roger's & Hammerstein's Cinderella.
What is it about these films that stand out to you?
In my humble opinion, Never Rarely Sometimes Always is the best film of 2020. Hittman expertly tells the story of a teenage girl's struggle to get an abortion while communicating the importance of female friendship and sisterhood visually. Also, I got to see Never Rarely Sometimes Always twice in theaters before they indefinitely closed in NYC before the pandemic, so it holds a nice memory of pre-pandemic times.
Landes' MONOS is just so visually arresting! Coupled with a score that reaches your core! Landes' ability to tell this story about teenagers who surface level seem nothing like the average American viewer but makes their struggle for justice and order while grappling with their innocence, I think, becomes instantly relatable.
As for Roger's & Hammerstein's Cinderella, there is something to be said for a child watching that diverse cast on the screen representing a beloved Disney princess tale without their race or ethnicity being a central part of the story. It really was ahead of its time for a 1997 movie.
You’re a self-proclaimed Chalamaniac, right?
YES. I need "Chalamaniac" on a t-shirt.
So, I have to ask, how did your love of all things Chalamet begin?
Timothée's performance in Call Me by Your Name signed me up for a lifetime membership to the Chalamet fan club.
How do you envision festivals like Female Voices Rock helping to address the glaring inequalities facing historically underserved/under-represented people in the film industry?
Many film festivals are now centered on female-focused programming. They are run entirely by women, but what FVR gets right is having an inclusive programming team and jury to curate and acknowledge a more diverse film selection. Solving inequality and underrepresentation doesn't happen overnight and doesn't get fixed when changes are just made to one aspect of an organization. It's important to have producing and administrative teams that foster an environment where women of any age and experience level can participate. Inviting film critics that look like the filmmakers and cast they're reviewing, things like that often get overlooked could really make a difference.
What’s the most important lesson you’ve learned so far while working the film festival circuit?
Talk to everyone. From an audience member (not even from your own screening!) to a festival programmer to an usher to the person sitting next to you at the open bar— you never know when a connection can help you in your next project or continuing in your festival run. Even if the connection doesn't seem obvious, it's always good to build your tribe from people you meet at a festival.
Do you have any advice to give someone interested in pursuing a job in the film industry?
I don't know if I'm one to give advice when I feel like I'm still navigating my place in this industry. Still, I think reminding yourself of the "why" you're pursuing filmmaking and using that as a daily motivation coupled with what I mentioned before about building a tribe. Enroll in classes, join Facebook groups, attend screenings at your local art house (if it's safe to do so) and make those connections to build your tribe. Because if there's one thing you'll learn early on, it is that you won't be able to make it alone, so lean into that tribe you've surrounded yourself with.
This is what a feminist looks like
To date, Maria has produced a feature and multiple shorts as well as events for Female Voices Rock Film Festival, NY Latino Film Festival, and NYC Independent Film Festival. I can’t wait to see where her career takes her next!
For more information about Maria Akay and her work, follow her on Instagram @maria_akay!
