{"id":27968,"date":"2019-05-01T18:14:25","date_gmt":"2019-05-01T18:14:25","guid":{"rendered":"http:\/\/www.oceaniathefilm.com\/?page_id=27968"},"modified":"2026-03-04T05:00:37","modified_gmt":"2026-03-04T05:00:37","slug":"testteam","status":"publish","type":"page","link":"https:\/\/www.oceaniathefilm.com\/index.php\/testteam\/","title":{"rendered":"TEAM"},"content":{"rendered":"\n
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Natalie Zimmerman, Director\/Producer\/Co-Writer (US)<\/h5>\n\n\n\n

Natalie Zimmerman is a San Francisco Bay Area based filmmaker and artist whose work has been exhibited worldwide in diverse contexts including Independent Feature Project, World Affairs Council, Museumsquartier\/Q21 and Sigmund Freud Museum (Vienna). She is a former Fulbright Scholar, Headlands Center for the Arts Resident Fellow, and Resident Artist at the deYoung Museum of Fine Arts (SF) where she co- created Social Dream Lab\u2014 an exploration of the collective dynamics of dreaming and social revolution. In 2017, she organized a gathering of indigenous and western women engaged in climate change activism \u2013 On Fertile Ground: Integrating Perspectives Toward a Collective Future was funded by the Bureau of Educational and Cultural Affairs. Her film works and installations include: “Islands” which premi\u00e8red at SF Camerawork in the curated Exhibition ‘Traces of Life on the Thin Film of Longing” with Jem Cohen and Jenni Olsen, “Close the Eyes” which premiered at the de Young Museum in SF in the Koret Auditorium and “Eros & Psyche”, which was created and premiered while in-residence at the Headlands Center for the Arts.<\/p>\n\n\n\n

Zimmerman\u2019s most recent nonfiction film was featured at the Ji.Hlava New Visions Forum: US Docs in the Czech Republic in October 2021. In May of 2022, Zimmerman was nominated and awarded a Filmmaker Residency with Woodstock Film Festival, Theoria Foundation and Gigantic Pictures. Her projects have been awarded funding by US South Pacific Embassy (Diplomatic Grant), US State Dept. Bureau of Education and Cultural Affairs, Center for Cultural Innovation, UC Berkeley Professional Development Award, Puffin Foundation, Paul Robeson Foundation and Yip Harburg Foundation among others. She most recently founded Alchemy Dream Studio which released her first feature-length nonfiction film, OCEANIA: Journey to the Center<\/em><\/a>. OCEANIA had its World Premiere at the Mill Valley International Film Festival (October 2024) followed by an US East Coast Premiere at the Woodstock Film Festival and will continue to play festivals worldwide throughout 2025.<\/p>\n\n\n\n

She holds a Master of Fine Arts from California Institute of the Arts and a Film Certificate from New York University. <\/p>\n\n\n\n

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Lindsay Beatrice Gordon, Impact Producer (US)<\/h5>\n\n\n\n

Lindsay Gordon is a marine conservationist and ocean impact specialist who has worked around the world listening to, learning from, and working with ocean communities to highlight the human-ocean connection and co-create change to solve some of today\u2019s greatest challenges, including local sustainable livelihoods, environmental protection, and pollution. She served as Head of Global Programs for Parley for the Oceans, working in 30 countries across the globe and alongside organizations such as the United Nations to collaboratively work on locally-led and globally-supported grassroots solutions addressing plastic pollution, environmental justice, and environmental literacy. Her efforts include working alongside coastal communities from the Galapagos Islands to the islands of Hawaii to the Maldives to optimize long-term beneficial changes for both oceans and people. <\/p>\n\n\n\n

Lindsay is published in Marine Policy<\/em>\u2019s co-authored \u201cWhy People Matter in Ocean Governance\u201d paper, a result of work with 125 experts from 17 countries to understand community-inclusivity best practices which uphold local traditions, practices, and economic realities within marine protection policies. She has also been featured on podcasts including the \u201cRising Tide\u201d podcast, \u201cVoices of Nature\u201d, and \u201cBeyond the Bluff\u201d to discuss topics ranging from the plastics problem to deep sea mining. Lindsay believes the issues we are facing can only be solved through creative collaboration and active listening \u2014 learning from those who know the ocean most intimately, coastal and island communities. She works to elevate these voices from around the world, support grassroots efforts, and foster global-meets-local ethical solutions which benefit both humans and oceans. Lindsay also educates on the themes of eco-grief, eco-anxiety, and the intimate connectivity between humans and the natural world we are a part of. Lindsay holds a Master\u2019s from University of Washington\u2019s School of Marine and Environmental Affairs, a Bachelor\u2019s from University of Miami\u2019s Rosenstiel School of Marine Science, a Center for Council certification, and training from Pacifica Graduate Institute in Community, Liberation, Indigenous, and Ecopsychology.<\/p>\n\n\n\n

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Godfrey Reggio, Executive Producer (US)<\/h5>\n\n\n\n

Godfrey Reggio is a pioneer of a film style that creates poetic images of extraordinary emotional impact for audiences worldwide. Reggio is prominent in the film world for his QATSI trilogy, essays of visual images and sound that chronicle the destructive impact of the modern world on the environment. Reggio, who spent 14 years in silence and prayer while studying to be a monk, has a history of service not only to the environment but to youth street gangs, the poor, and the community as well.<\/p>\n\n\n\n

Koyaanisqatsi (1983), Reggio’s debut as a film director and producer, is the first film of the QATSI trilogy. The title is a Hopi word meaning “life out of balance.” Created between 1975 and 1982, the film is an apocalyptic vision of the collision of two different worlds–urban life and technology versus the environment. The musical score was composed by renowned composer Philip Glass. Powaqqatsi (1988), Reggio’s second film, conveys a humanist philosophy about the earth, the encroachment of technology on nature and ancient cultures, and the splendor that disappears as a result. The film focuses on the so-called modern way of life and the concept of the Global Village, entwining the distinctive textures of ancient and so-called Third World cultures. Powaqqatsi was co-written, co-produced and directed by Reggio and had music composed by Philip Glass between 1985 and 1987. In 1991 Reggio directed Anima Mundi (1991), a film commissioned by Bulgari, the Italian jewelry company, for the Worldwide Fund for Nature, which used the film for its Biological Diversity Program. Accompanied by the music of Philip Glass, the 28-minute Anima Mundi is a montage of intimate images of over seventy animal species that celebrates the magnificence and variety of the world’s fauna. <\/p>\n\n\n\n

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Guetty Felin, Producer (US)<\/h5>\n\n\n\n

Guetty Felin is a filmmaker, writer, and producer of documentaries and narrative films. A native of Haiti, she grew up in New York and came of age cinematically in Paris while pursuing graduate studies in cinema. She went to work in production and distribution of documentary films and directed her first documentary Hal Singer Keep the Music Going. In 2003, she moved to Haiti and became head programmer for Festival Film Jakmel and director of the first cinema workshops, which planted the seeds for the creation of Cine Institute – Haiti’s only film school on the southeastern coast. She is co-founder of the multicultural film company BelleMoon Productions. Her first feature-narrative film Ayiti Mon Amour was the first filmed entirely in Haiti by a Haitian-born female director. It premiered in Toronto, travelled in over 40 festivals around the world, and was Haiti’s first ever entry for the Best Foreign Language Film Category for the 2018 Academy Awards. Guetty is the founder of “Les Lumieres du Sud” a cinematic encounter in the South of Haiti. Guetty most recently produced critically acclaimed nonfiction feature, Seeking Mavis Beacon, in association with Neon Films which premiered at Sundance in 2024. She is currently producing the nonfiction hybrid film, Lights of Passage, by Yeelen Cohen inspired by Souleymane Ciss\u00e9, one of the Godfather’s of African cinema.<\/p>\n\n\n\n

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Lyn Collie, Associate Producer (New Zealand)<\/h5>\n\n\n\n

Lyn Collie is an award-winning filmmaker, digital content producer and writer with more than a decade in independent documentary. Lyn\u2019s producing credits include the multi-award-winning Pacific climate change feature ‘There Once was an Island: Te Henua e Nnoho’ (2010), and feature ‘Crossing Rachmaninoff’ (2015). ‘There Once was an Island’ screened in more than 120 festivals world-wide, won 12 awards and has been broadcast in almost every major territory, including on Arte, Al Jazeera and PBS. Lyn has been involved in the production of multiple documentaries by female directors, including Annie Goldson, Briar March and Rebecca Tansley. She taught videography to students at the University of Auckland Business School for seven years, where she was also awarded for innovation in educational video production. She has a BA with Honours in Cultural Anthropology and a Masters with Honours in Documentary Directing. Currently Lyn runs Craft Media Workshop, a content production company based in Auckland, New Zealand.<\/p>\n\n\n\n

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Tekinati Ruka, Co-Writer\/Creative Producer (Republic of Kiribati)<\/h5>\n\n\n\n

Tekinati Ruka is a native of Kiribati with extensive knowledge of the island’s shifting landscape as well as indigenous cultural traditions. She teaches workshops across the 33 islands on traditional lifeways including planting\/growing techniques in high heat\/low rain conditions. She is a singer and storyteller within her village community and a main subject within the story of OCEANIA.<\/p>\n\n\n\n

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Charles Langley, Special Cinematography (Republic of Kiribati)<\/h5>\n\n\n\n

Charles is a native of Kiribati and has extensive, intimate knowledge of the dynamic atoll landscape and the interrelated ocean tides and currents. In addition to his material practices of fishing and traditional building\/carpentry, hIs innate sense of visual composition brings an invaluable and unique cinematic perspective. His voice is an impotent thread within the narrative of the film\u2014and his visual explorations from above the ground and below the sea\u2014bring important artistic and cultural texture, depth and dimension.
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Shahzad Ismaily, Composer (US)<\/h5>\n\n\n\n

Shahzad Ismaily was born to Pakistani immigrant parents. A largely self-taught composer and musician, he plays the electric and double bass, guitar, banjo, accordion, flute, drums, various percussion instruments and various analog synthesizers and drum machines. Ismaily has recorded or performed with an incredibly diverse assemblage of musicians, including Laurie Anderson, Yoko Ono, Damien Rice, Marc Ribot, Ben Frost, Bonnie Price Billy, Raz Mesinai and Burnt Sugar. He has composed regularly for dance and theater, including fMin Tanaka, the Frankfurt Ballet. His film scores include the critically acclaimed  Frozen River, which won the Grand Jury Prize at the 2008 Sundance Film Festival  and POV’s Television Series produced El General.<\/p>\n\n\n\n

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Sean van Doornum, Composer (Australia)<\/h5>\n\n\n\n

Se\u00e1n van Doornum is a Composer, Performer, Producer and Multi-Instrumentalist. A graduate of the Sydney Conservatorium of Music with a Bachelor’s in Music Composition and from the Film Scoring Academy of Europe with a Master’s in Film Scoring. Se\u00e1n lived and worked as a professional musician in New York City for over a decade, managing recording studios, performing shows and producing artists, and creating the original music for several Theatre productions. Se\u00e1n has composed the original scores for many Theatre and Film Productions in Australia and abroad, predominately within the US. Some notable productions include the award-winning Australian premiere of Stephen Jefrey’s play \u2018The Libertine’ through Sport For Jove Theatre Company, a new Theatre production by Venezuelan playwright Lupe Gehrenbeck titled \u2018Alice In Teresa’s Land\u2019, which premiered at The Producer’s Club in NYC, in November 2013, in 2017 \u2018The Incredible Here And Now\u2019 at Riverside Theatre in Parramatta, and \u2018DNA\u2019 for Sydney Fringe, in 2018 a new Australian play by Caleb Lewis, \u2018The River At The End Of The Road\u2019, through Sport For Jove Theatre Company, and in 2019 the score and sound design for the award-winning production of \u2018Oracles & Miracles\u2019 in the Hollywood Fringe Fest. Recently Se\u00e1n composed the score for a new film for New York-based production company Form & Pressure Films and composed for 44-piece String Orchestra for the feature-length Documentary \u2018Oceania\u2019 by Natalie Zimmerman. Some notable awards include: the 2006\/2007 Allan Zavod Jazz\/Classical Composition Award, 2010 ArtStart Grant from the Australian Arts Council, 2011 finalist in the APRA Professional Development Award, 2022 awarded the Conrad Pope scholarship for Film Scoring. Se\u00e1n has also released 6 albums of original songs under the artist name e\u00fcsh<\/p>\n\n\n\n

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Michael Hofacre, Editor (US)<\/h5>\n\n\n\n

Michael Hofacre<\/strong> (Editor) has edited both independent features (Shelter<\/em>, Frankie Go Boom<\/em>, and Winter in the Blood<\/em>) and edited\/co-produced several feature-length documentaries (Walking Man<\/em>, Political Animals<\/em>, and Soros<\/em>). He has been part of the editing team on over forty film and television projects, working for directors such as Milos Forman, Michael Mann, Jodie Foster, Danny DeVito, Tran Anh Hung, Judd Apatow and Adam McKay. As a theatre director, plays he has directed include productions of A Midsummer Night\u2019s Dream, The Taming of the Shrew<\/em>, Much Ado About Nothing<\/em>, and Twelfth Night<\/em>. He lives in Los Angeles and is a graduate of the University of Nebraska. <\/p>\n\n\n\n

Tanua Pine, Cultural Advisor (Republic of Kiribati)<\/h5>\n\n\n\n

Tanua is a poet, songwriter and educator. He brings first-hand knowledge of traditional I-Kiribati cultural values paired with a deep understanding of how these beliefs and practices are situated within a greater contemporary context\u2014both within and beyond the Island Nation of Kiribati. His perspective provides an essential narrative element leading the inquiry within OCEANIA . Currently Tanua serves as General Secretary for the Kiribati Teachers’ Union and is an active board member of Kiribati Associations of Non-Governmental Organizations (KANGO).<\/p>\n\n\n\n

Advising Scholars:<\/strong><\/p>\n\n\n\n

South Pacific, Katerina Teaiwa, PhD (Australia)<\/h5>\n\n\n\n

Teaiwa is of Banaban, I-Kiribati and African American descent. She has a background in anthropology and Pacific Island Studies and led a research project in Ocean Island (Banaba) in Kiribati\u2014where the local population was relocated to Fiji after phosphate mining rendered the landscape uninhabitable. She is author of the book, Consuming Ocean Island:<\/em> Stories of People and Phosphate from Banaba.<\/p>\n\n\n\n

North Pacific, Joanna Macy, PhD (US)<\/h5>\n\n\n\n

Macy is a scholar of Buddhism, general systems theory, and deep ecology. A respected voice in the movements for peace, justice, and ecology, she interweaves her scholarship with five decades of activism. The author of more than twelve books, she is the root teacher of the Work That Reconnects, a ground-breaking theoretical framework and workshop methodology for personal and social change.<\/p>\n\n\n\n


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Natalie Zimmerman, Director\/Producer\/Co-Writer (US) Natalie Zimmerman is a San Francisco Bay Area based filmmaker and artist whose work has been exhibited worldwide in diverse contexts including Independent Feature Project, World Affairs Council, Museumsquartier\/Q21 and Sigmund Freud Museum (Vienna). She is a former Fulbright Scholar, Headlands Center for the Arts Resident Fellow, and Resident Artist at […]<\/p>\n","protected":false},"author":2,"featured_media":27974,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-27968","page","type-page","status-publish","has-post-thumbnail","hentry"],"_links":{"self":[{"href":"https:\/\/www.oceaniathefilm.com\/index.php\/wp-json\/wp\/v2\/pages\/27968","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.oceaniathefilm.com\/index.php\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.oceaniathefilm.com\/index.php\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.oceaniathefilm.com\/index.php\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.oceaniathefilm.com\/index.php\/wp-json\/wp\/v2\/comments?post=27968"}],"version-history":[{"count":41,"href":"https:\/\/www.oceaniathefilm.com\/index.php\/wp-json\/wp\/v2\/pages\/27968\/revisions"}],"predecessor-version":[{"id":28299,"href":"https:\/\/www.oceaniathefilm.com\/index.php\/wp-json\/wp\/v2\/pages\/27968\/revisions\/28299"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.oceaniathefilm.com\/index.php\/wp-json\/wp\/v2\/media\/27974"}],"wp:attachment":[{"href":"https:\/\/www.oceaniathefilm.com\/index.php\/wp-json\/wp\/v2\/media?parent=27968"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}