Filmmakers Making A Social Impact: Why & How Filmmaker Anaiis Cisco of Heartbeat Opera Is Helping To Change Our World
An Interview With Edward Sylvan
As a way to mobilize nuanced conversations around sensitive topics of police brutality, sexual abuse, and Black queer visibility, I often use examples of my film projects as teaching tools in my classes and at film festivals. My commitment to working with students at innovative institutions like Smith College is linked to a larger objective — inclusivity and visibility not only on the screen, in writers rooms, and behind cameras, but extending into the classroom. I want to create safe learning and creative environments for students of all genders, ethnic, and racial backgrounds.
As a part of our series about “Filmmakers Making A Social Impact” I had the pleasure of interviewing Anaiis Cisco, a filmmaker and assistant professor of moving image production in film and media studies at Smith College. She received a Masters of Fine Arts in cinema from San Francisco State University, where she was awarded a 2018 Princess Grace Award (Louis D. Srybnik Film Award) for her graduate thesis film, Drip Like Coffee. Cisco teaches digital video production courses as she develops media that explores the emotional and internal journeys of Black characters, confronting intimate moments of violence and trauma in diverse story worlds.
Thank you so much for doing this interview with us! Before we dive in, our readers would love to get to know you a bit. Can you share your “backstory” that brought you to this career?
After my first year of college, I decided to switch from an accounting major and pursue a degree in film studies. I was fascinated by the various styles of cinema introduced in classes, but often felt excluded from American film history. There were hardly any depictions of Black characters presented in lectures. After doing my own research, I found an archive of films produced by Black filmmakers known as the L.A. Rebellion. This student collective has been instrumental in modeling a practice of activist filmmaking for me.
Can you share the funniest or most interesting story that occurred to you in the course of your filmmaking career?
On the final day of production for my short film, GYRL, we planned for a cast and crew basketball game. Allotting an hour in between filming scenes to play together, this uplifting and fun moment added lightness to the film’s dark themes of sexual abuse and child negligence. We cultivated a production experience that honored joy and play while tackling a project that recreated scenes of trauma.
Who are some of the most interesting people you have interacted with? What was that like? Do you have any stories?
I‘ve been fortunate to work with iconic figures of American cinema. One of my favorite professor-mentors,
Pat Jackson is an award-winning sound editor known for her work on films like Jarhead and The Godfather: Part II. She’s taught me everything I know about weaving images together in an impactful way. After spending three years under her guidance while in film school, she remains a close friend offering up her brilliant insights whenever I share works-in-progress.
Connecting with Pat was just a bonus. What led me to San Francisco State University’s School of Cinema was the prospect of working with Cheryl Dunye. It was in Cheryl’s Experimental Documentary production course that I was exposed to endless examples of media produced by Black and queer filmmakers. My class was pretty lucky to work with Cheryl at the time she directed an episode of Ava DuVernay’s Queen Sugar. Cheryl returned to class thrilled to share her experience leading a team on-location in Louisiana.
What are some of the most interesting or exciting projects you are working on now?
Currently, I’m writing my first feature-length narrative, Drip Like Coffee, which is dedicated to depicting intimate portraits of Black and queer experiences. I’ve found that there are very few portrayals of Black femme characters in media, and am drawing from my own exploration of queer desire and gender expression to craft this story. I’ve adapted my thesis film, Drip Like Coffee (2019), into a feature-length film. The story follows two co-workers at a Brooklyn café, where their queer attraction for each other tests their romantic relationships with their boyfriends.
Which people in history inspire you the most? Why?
Black women filmmakers like Kathleen Collins, Julie Dash, Barbara McCullough, Jessie Maple, Cheryl Dunye, Dee Rees, zeinabu irene davis, Cauleen Smith, and Bridgette M. Davis. The body of work produced by these legendary filmmakers is inspirational and empowering, featuring depictions of Black women characters as educators, spiritual practitioners, and visual artists. These Black women persevered and produced complex narratives centering Black women. Continuing the path paved by Black women directors, I hope to add to the digital archive and legacy of Black Queer media production.
Let’s now shift to the main focus of our interview, how are you using your success to bring goodness to the world? Can you share with us the meaningful or exciting social impact causes you are working on right now?
As a way to mobilize nuanced conversations around sensitive topics of police brutality, sexual abuse, and Black queer visibility, I often use examples of my film projects as teaching tools in my classes and at film festivals. My commitment to working with students at innovative institutions like Smith College is linked to a larger objective — inclusivity and visibility not only on the screen, in writers rooms, and behind cameras, but extending into the classroom. I want to create safe learning and creative environments for students of all genders, ethnic, and racial backgrounds.
Many of us have ideas, dreams, and passions, but never manifest it. But you did. Was there an “Aha Moment” that made you decide that you were actually going to step up and take action for this cause? What was that final trigger?
During my first year of college, I felt completely disconnected from the course work and displaced amongst my peers. At that time, my happy place was my part-time job at an arts organization in Harlem, NY. Fascinated by the vibrant artists and the organization’s mission to produce Off-Broadway theater and musical performances, I loved being immersed in this creative environment. It was then that I learned I wanted to be a director, and transferred out of business school, and enrolled in a liberal arts undergrad program for film studies.
Can you tell us a story about a particular individual who was impacted or helped by your cause?
My engagement with students extends into my Brooklyn community. As a Narrative Lab Mentor at Reel Works Brooklyn, an organization geared toward teenage filmmakers, I’ve supported three young Black women, at different stages of their filmmaking careers. My experience with one mentee, in particular, was inspiring. From conception to completion, she had a clear vision. Over a few months, I helped her develop a short script, cast actors, record scenes, and edit her film. It was rewarding to watch the final product in front of an audience with her family in attendance and to witness how impressed she was with her ability to complete something as meaningful and challenging as a film.
Are there three things that individuals, society or the government can do to support you in this effort?
I would encourage people to research at least three arts organizations within your community and find out how you can support them. Extracurricular initiatives offered by local arts organizations can provide an outlet for young people who are from underprivileged communities. Engaging with the young creatives at Reel Works has taught me how to be a better listener.
What are your “5 things I wish someone told me when I first started” and why. Please share a story or example for each.
- I wish someone told me that I could study all of my favorite things. When you’re a young student, school curriculums often privilege subjects like math, science, and English. If I was introduced to disciplines like art history and media studies as a young person, my journey as a filmmaker would have begun sooner.
- I wish someone told me that collaboration is key to everything. Film production is rooted in teamwork and a huge part of my job as a director is trusting the team that I’m working with to carry out a collective vision.
- Lastly, I wish someone would have reminded me that it’s okay to change your mind. Whether it’s a career path, athletic sport, or even a romantic partner, if it no longer inspires you, it’s okay to change directions.
If you could tell other young people one thing about why they should consider making a positive impact on our environment or society, like you, what would you tell them?
I would encourage them not to be afraid to share their stories. We are the authors of our history and must write our narratives. Their generation is actively making an impact using social media to exchange resources amongst their communities in creative and innovative ways.
We are very blessed that many other Social Impact Heroes read this column. Is there a person in the world, or in the US, whom you would like to collaborate with, and why? He or she might see this. :-)
There are so many incredible filmmakers like Ava DuVernay, Haile Gerima, or Wong Kar-Wai. If I had to choose it I would love to collaborate with the legendary Julie Dash. She’s one of the greatest filmmakers in the world. Her approach to plot, setting, and visual storytelling has fruitfully carved a path for contemporary Black media. I would be thrilled to relish in her brilliance and collectively visualize the experiences of Black women in cinematic form.
Can you please give us your favorite “Life Lesson Quote”? Can you share how that was relevant to you in your life?
“Pay it forward.” My high school principal used to remind us of how important it is to give back to our community. He taught us that small acts of kindness can rebuild communities and save lives. It’s a lesson I picked up as a teenager and still carry with me, to this day. For over five years, I’ve volunteered at Reel Works Brooklyn, an arts organization supporting young filmmakers to complete short films. In this exchange, I am overjoyed being able to teach and create with young Black filmmakers who are eager and passionate to share their stories through film.
How can our readers follow you online?
I’m on Instagram @anaiis05, and people can check out my work at www.anaiiscisco.com.
This was great, thank you so much for sharing your story and doing this with us. We wish you continued success!
About The Interviewer: Growing up in Canada, Edward Sylvan was an unlikely candidate to make a mark on the high-powered film industry based in Hollywood. But as CEO of Sycamore Entertainment Group Inc, (SEGI) Sylvan is among a select group of less than ten Black executives who have founded, own and control a publicly traded company. Now, deeply involved in the movie business, he is providing opportunities for people of color.
In 2020, he was appointed president of the Monaco International Film Festival, and was encouraged to take the festival in a new digital direction.
Raised in Toronto, he attended York University where he studied Economics and Political Science, then went to work in finance on Bay Street, (the city’s equivalent of Wall Street). After years of handling equities trading, film tax credits, options trading and mergers and acquisitions for the film, mining and technology industries, in 2008 he decided to reorient his career fully towards the entertainment business.
With the aim of helping Los Angeles filmmakers of color who were struggling to understand how to raise capital, Sylvan wanted to provide them with ways to finance their creative endeavors.
At Sycamore Entertainment he specializes in print and advertising financing, marketing, acquisition and worldwide distribution of quality feature-length motion pictures, and is concerned with acquiring, producing and promoting films about equality, diversity and other thought provoking subject matter which will also include nonviolent storytelling.
