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Lana Wilson

@lanawilson

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Director of AFTER TILLER, THE DEPARTURE, A CURE FOR FEAR, MISS AMERICANA, PRETTY BABY, and LOOK INTO MY EYES

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Last weekend, the Rooftop Treasure Hunt sent attendees racing across New York, unraveling riddles and uncovering secret activities inspired by the films, people, places, and stories that made us! The result was a sprawling game of discovery that took our history of indie cinema spectacle off the screen and into the streets, transforming the city into a living map of three decades of Rooftop Films. Special thank you, again, to our media partners and sponsors at @letterboxd, @wnyc, @gothamist, and @frankfurtkurnit.

Team Globe Otters solved all the puzzles (*and* made it to every activation) in record time, winning themselves a cool $5,000 in the process! Other players and teams submitted their answers and received prizes generously donated by our friends at @beaconscloset, @booksaremagicbk, @chipotle, @grandaisybakery, @joecoffeecompany, @nytransitmuseum, @drinkpixeldust, @eatpopaire, @ridersalliance, @shakeshack, @shortsmovietheater, and @varietycoffee.

Along the way, participants encountered a range of hidden surprises, including…

+ Witnessing the creation of a one-of-a-kind piece made by Ushio Shinohara (@shinohara_studio), the legendary 94-year-old Japanese contemporary artist who decorates canvases with boxing gloves dipped in paint, as seen in @ifyoucsomethingsaysomething’s film CUTIE AND THE BOXER (Rooftop 2013)! The performance took place live in his studio, a beautifully chaotic relic of old-school artistic life in New York, which Ushio and his wife Noriko have inhabited since the early ‘80s.

+ Receiving free psychic readings and healings, courtesy of the stars from @lanawilson’s LOOK INTO MY EYES (Rooftop 2024), in the calming back room of the @questbookshopnyc, where The Spiritualist Church of NYC gathers!

+ Receiving free psychic readings and healings, courtesy of the stars from @lanawilson’s LOOK INTO MY EYES (Rooftop 2024), in the calming back room of the @questbookshopnyc, where The Spiritualist Church of NYC gathers!

+ Visiting the dually iconic/infamous McKibbin Lofts, which housed Rooftop’s operations from 1998-2002, when the buildings were nearly empty! Back then, the place was mostly inhabited by rats but, nowadays, treasure hunters were

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There’s nothing like shooting on location in New York City during Christmas! Some BTS of making 306 @amcthewalkingdead Dead City the beginning of this year and spending time with friends over the holidaze. Take me to back to NYC… still the best city in the world. Where Evie was born and where we will always call home. Grateful I’ve been able to shoot so many shows in NYC. Thanks for serenading us @emmykinney loved working with you so much! Love to the Dead City cast & crew - we had so much fun even though we were soooo cold! No 🧟‍♀️ were harmed making this ep.

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🎼 Song: The Man

🎶 Lyrics: "When everyone believes ya/ What's that like?"

🎵 Meaning:

• The Exhaustion of Default Skepticism: "When everyone believes ya" highlights the grueling reality of navigating an industry—and a broader culture—where a woman's narrative is treated with baseline suspicion. It captures the profound fatigue of constantly having to produce "receipts," justify emotions, and defend one's lived experience against a public that instinctively defaults to doubting her.

• Exposing the Privilege of Unearned Authority: The rhetorical, almost exhausted question "What's that like?" sharply contrasts her relentless uphill battle with the effortless credibility granted to male counterparts. It strips away the illusion of meritocracy, exposing how male authority is inherently trusted and validated, while female authority is continuously audited, mocked, and interrogated.

• The Shift from Frantic Defense to Observational Critique: Rather than scrambling to prove her innocence or shouting to be heard—a reactive hallmark of earlier eras—the narrator adopts a stance of sharp, detached observation. By explicitly naming the rigged nature of the system, she begins to step off the defensive hamster wheel, recognizing that the constant demand for proof is a systemic flaw of the industry, not a reflection of her own integrity.

• Summary: These lyrics mark a crucial evolution in the narrator's relationship with public perception and industry pressure. By boldly confronting the double standard of credibility and exposing the absurdity of gendered gaslighting, she relinquishes the exhausting burden of constantly having to prove her truth, taking a vital step toward unbothered, self-possessed autonomy.

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“Reclusive mother of three finally changes out of Costco sweats and reenters the world.” 😂

Feeling very grateful after a wonderful couple of weeks immersed in film. I got to support the Take Me Home team at Tribeca, where there wasn’t a dry eye by the end, catch up with some of my favorite filmmakers, and have one of my favorite theater experiences ever: watching Girls Like Girls, a lesbian coming-of-age film, at the beautiful Castro Theatre with the most raucous and engaged audience.

What a joy it is to share these moments with so many friends, old and new. So grateful to all the organizations working tirelessly behind the scenes to make experiences like these possible.

My heart is full. Now back to my cave to work on my own film.

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✨Behind the scenes – so sah es hinter den Kulissen unserer neuen Kampagne mit @lewishamilton aus. 👀 Die komplette Story findest du über den Link in unserer Bio.

#BringYourBest #DinnerDialogues #QuestionsServed

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🎼 Song: The Man

🎶 Lyrics: “I'd be just like Leo/ In Saint-Tropez”

🎵 Meaning:

• The Double Standard of Play: This line references Leonardo DiCaprio’s well-documented lifestyle of vacationing on yachts with younger models. It highlights the gendered double standard where a man’s playboy behavior is celebrated or viewed as "cool," while a woman doing the same would be heavily scrutinized or shamed.

• Status as an Achievement: By using "Leo" as a benchmark, the narrator points out that for men, luxury and dating are often seen as symbols of "making it." She suggests that if she behaved with that same level of freedom and casualness, her success would be viewed through a lens of admiration rather than judgment.

• The Freedom of No Explanations: “Saint-Tropez” evokes a world of high-end leisure and untouchable status. The lyrics express a longing for a reality where the narrator could enjoy her wealth and social life without every move being analyzed for hidden meanings or moral failings.

• Challenging the "Likeable" Narrative: Taylor uses this comparison to show how male celebrities are allowed to be "unbothered" and unapologetic about their personal choices. It reflects a desire to be judged by her accomplishments rather than her dating history or how "well" she adheres to traditional feminine expectations.

• The Power of the Archetype: The reference to a specific, famous individual makes the critique tangible. It turns a broad conversation about sexism into a sharp, relatable observation about who is allowed to be a "maverick" and who is forced to be a "good girl."

• Summary: These lyrics use the public persona of Leonardo DiCaprio to illustrate the social immunity granted to successful men. They highlight the disparity in how the world perceives wealth and leisure, suggesting that a woman in the same position would never be afforded the same effortless "cool" or lack of public criticism.

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Just when you think you know everything about your closest friends, along comes S.Pellegrino and @lanawilson to stir things up. Catch the full story via the link in bio.
#BringYourBest #DinnerDialogues #QuestionsServed

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“It’s about togetherness, in-person connection, how to create a meal, a moment, a memory.” We couldn’t have said it better ourselves, @lanawilson. Catch the full story via the link in bio.
#BringYourBest #DinnerDialogues #QuestionsServed

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My #PrettyBaby documentary first premiered three years ago today... and somehow it keeps feeling more and more relevant. This story is a narrative for ALL women and society’s imprint on us. I’m still so grateful to all the people who made it possible. Streaming on @hulu ☀️

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Three of our favorite moments from our chat with the brilliant Documentary filmmaker Lana Wilson (Look Into My Eyes, Miss Americana, After Tiller). The three of us met for the first time in 2009 at Performa, a performance art biennial in New York. 15 years later, we reconnected in the world of cinema. Thank you, Lana, for this really fun discussion! @lanawilson

FOR YOUR CONSIDERATION: BEST LIVE ACTION SHORT

Available worldwide on THE NEW YORKER

#fyc #foryourconsideration #bestliveactionshortfilm #oscarnominee

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As we round out our month all about documentary filmmaking, be sure to check out these 15 documentary filmmakers redefining the craft in real time ✨

#letterboxd #documentaryfilm #fyp #filmschool #filmmakersworld

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“When he could’ve built an empire, he built a nest.”

Amy Redford said that at the Directors Brunch last week at Sundance, speaking about her dad, and it’s a line that’s stayed with me.

It felt especially true this year. I was deeply honored to be invited to serve as a juror - an experience that was also bittersweet. This was the last Sundance in Park City, and the first without Robert Redford. One era quietly closing as another begins.

Sundance became a kind of nest for me in 2020, when I brought my film Be Water here. Since then, returning each year always felt like pilgrimage, coming back to a place where friendships and collaborations deepen, conversations stretch late into the night, and you’re reminded why you make things at all. Robert Redford didn’t build an empire. He built a shelter. A place where artists could gather, take risks, and feel held for a moment before heading back out into the world.

Grateful for the films, the people, and for this strange, generous nest that has shaped so many of us over the years. #SundanceFilmFestival @sundanceorg

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