李伊寧

Erin LI Yining

策展人

李伊寧簡介

Erin was born in the US to immigrant parents from Taiwan and raised in New Jersey. She chased what she thought was the American Dream and worked on Wall Street before pursuing her passion for filmmaking. Her unique journey informs her films, which often explore the dark side of ambition. A sci-fi filmmaker and fan, she won the Mary Shelley Award for directing Kepler X-47 and her original vision and world-building. Narrative films that Erin directed have been praised by Upworthy, Gizmodo, SciFi Now, Huffington Post, Mitú, Vimeo (Staff Pick), and curated by SXSW, LACMA Young Directors Night, Killer Films, Comic-Con, Slamdance, Refinery 29's 29 Rooms at New York Fashion Week, and SITGES. As a commercial director, Erin’s work has been recognized by SHOOT and Free the Work. She’s on the director roster of INVISIBLE Collective. Select clients include: Omaze, (RED), Call of Duty, and General Electric. Erin has held directing fellowships with the FOX Filmmakers Lab, AFI Directing Workshop for Women, and Film Independent Project Involve. She shadowed producing director James Bamford on the last season of the CW series, ARROW. She’s represented by APA and Thruline for film and TV. As an educator, Erin has taught filmmaking in low-income public school districts in Los Angeles as part of Latino Film Institute's Youth Cinema Project. She guided middle school students in grades 4 - 8 through the process of making a short film - from ideation and screenwriting to film production and delivery of the final cut. She has also been an admissions reader for AFI's Directing MFA program, the AFI Directing Workshop for Women, Visual Communications Armed with a Camera, and a screenplay competition judge for UCLA's annual showcase and Slamdance Film Festival. Erin also mentors filmmakers through Visual Communications' Armed with a Camera, and has been a guest filmmaking instructor and speaker at Hollywood High, A Place Called Home, Brooklyn Collaborative High School, Girl Scouts New York, Students Across Borders, and Outside the Lens.

 

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