Created by members of Women in Film and TV Greece, “Maria – the Unknown Callas” is a period drama TV Series (10 episodes x 50 minutes) that delves into the early life of Maria Callas, focusing on her transformation from a young girl in Athens during World War II to a world-renowned opera diva. Written and directed by the founder of WIFT Greece Olga Malea, the narrative explores her relationships with pivotal figures, including her ambitious mother, passionate Spanish teacher, pianist sister, rebellious baritone lover, devoted German maestro, and beloved father.

The series was part of a special screening at the 2024 Thessaloniki Film Festival,

The series explores Maria’s relationship with important mentors in her life as a young artist: her ambitious mother, her passionate Spanish teacher, her beautiful pianist sister, her rebellious baritone Greek lover, her devoted German maestro, and her beloved father. They all shape her character and gradually lead her to become the most acclaimed opera diva of all time, while in Athens, Greece, during WW2.

MARIA: THE UNKNOWN CALLAS is a fictional biopic based on true events. It is a contemporary story of international appeal with a strong Greek woman who became a pop idol and the first woman to brand herself.

The inaugural Driving Change Summit, held from November 17 to 19, 2024, at Sydney’s Bondi Pavilion, marked a pivotal moment in advancing disability employment within the film, television, and commercial production industries. This event brought together industry leaders, advocates, and creatives to explore, elevate, and celebrate the inclusion of people with disabilities both in front of and behind the camera. Over the following two days, attendees engaged in a series of insightful sessions, each addressing critical aspects of disability inclusion in the screen industry.

Day One Highlights

• First Nations & Disability: This session, presented by the First Peoples Disability Network Australia, shed light on the unique experiences of Indigenous individuals with disabilities. Moderated by Kerri-Lee Harding of SBS, the panel featured Damian Griffis, CEO of the First Peoples Disability Network Australia, Brandon Fairley, a Bus Stop Films Student Ambassador, and Joanna Agius OAM, founder of Deaf Aboriginal Services.

• Hollywood and Inclusion: Keely Cat-Wells delivered a keynote address focusing on the imperative of creating space for disability on the red carpet and beyond, emphasizing the transformative power of authentic representation in mainstream media.

• Who Pays for Access?: A critical discussion on budgeting for disability in productions, this session was hosted by Glenn Hamilton of Screen Producers Australia. Panelists included Dana Cadden from Unilever, producer Pip Smart, writer and producer Meret Hassanen, and Dianna La Grassa of Bus Stop Films, who collectively underscored the importance of financial planning in facilitating inclusive practices.

Day Two Highlights

• Disability & Streaming: This session explored the role of streaming platforms in promoting disability inclusion. Moderated by Liana Dubois of Nine, the panel featured Nas Campanella of ABC, Joshua Griffin from SBS, Debra Richards of Netflix, and Paralympian Ellie Cole, who discussed strategies for enhancing representation and accessibility in digital content.

• Access & Inclusion on Set: Focusing on the practicalities of creating inclusive production environments, this discussion was led by Diana Fisk of Bus Stop Films. Contributors included screenwriter and access coordinator Sofya Gollan, employment trainer Seema Dudley, filmmaker and actor Emily Dash, and access coordinator Chanel Bowen, who shared best practices for supporting diverse talent on set.

A Showcase of Inclusive Storytelling

An undeniable highlight of the summit was the screening of the feature film “Audrey,” starring Hannah Diviney. The film’s presentation, followed by an engaging Q&A session, exemplified the summit’s commitment to showcasing authentic narratives that resonate with a broad audience.

Reflections and the Path Forward

The Driving Change Summit illuminated the profound impact of collaborative efforts in reshaping industry standards. By addressing topics ranging from casting practices to the responsibilities of government and broadcasters, the summit fostered a comprehensive dialogue on dismantling barriers to inclusion. The event underscored the necessity of intersectional approaches in advocating for equitable representation. The Driving Change Summit is a movement towards a more inclusive and representative screen industry. As we reflect on the discussions and stories shared, we are reminded of the collective responsibility to drive systemic change, ensuring that the tapestry of global storytelling authentically reflects the richness of human experience.

For more information, please visit the summit website.

The European Writers Club (EWC) has launched an inspiring initiative titled “Bridging Generations: Connecting Audiences,” aimed at fostering cross-generational storytelling within the European television industry. This program encourages teams of experienced writers—both young and old—to collaborate on original TV series concepts, bringing fresh perspectives through innovative storytelling.

Program Overview

EWC selects 6 to 8 teams from various European countries, each at the early stages of developing a TV series concept. These teams are set to participate in three immersive camps across Europe:

• Camp 1: April 7–11, 2025, in Brignogan, France
• Camp 2: June 9–13, 2025, in Malmö, Sweden
• Camp 3: September 15–19, 2025, in Spain (city to be confirmed)

During these camps, teams will develop, test, and refine their projects, transforming them into concepts ready for commissioning. The program also explores adapting each project into other formats, such as games, web series, podcasts, feature films, and social media content.

The initiative invites teams of writers with a minimum age gap of 10 years to apply. EWC provides an online matchmaking platform to help writers connect and form teams across Europe. The selection process will consider factors such as the age gap between writers, experience, diversity, cross-generational potential, and involvement from broadcasters or producers. Selected teams will receive remuneration of €3,000 for each writer.

The primary goal is to develop impactful, engaging TV series concepts with the potential to resonate across European borders and generations. By fostering collaboration between creators, writers, broadcasters, and producers, EWC aims to boost creativity and originality in storytelling, uniting European talents and audiences.

About the European Writers Club

The European Writers Club is a pilot programme, supported by the European Union under its latest initiative called “Writing European”. The European Writers Club (EWC) receives support from various organizations and institutions. Notably, their “Boosting Impact” initiative is financed by the European Union, in collaboration with partners such as the Estonian Film Institute, AGADIC/Xunta de Galicia, Screen Ireland, SGAE/Spain, Vision Denmark, The Danish Film School, MOIN, and Filmförderung Hamburg Schleswig-Holstein. Additional support comes from the Danish Film Institute, Nordisk Film & TV Fond, the Danish Producers’ Rights Fund, the Danish Producers’ Association, and all Nordic Writers’ guilds.

For more information, visit the European Writers Club website.

WFT Ireland is back with an episode from a series of in-depth conversations with international changemakers. In this oral history collection, we speak with a range of women who have shaped WIFTI and the media landscape over the last few decades. 

WFT Ireland Chair and WIFT International President, Dr. Susan Liddy, is in conversation with Kate Kinninmont MBE– former CEO of WFTV UK, and member of the WIFTI Advisory Board. 

Kate’s career as a producer and director with the BBC was followed by over a decade at the helm of WFTV UK. In this podcast episode, she reflects on her long and varied career as an industry practitioner and a respected advocate for gender equality. She talks us through her tenure as CEO of WFTUK and the changes she orchestrated and witnessed over a decade. 

Special thanks to our international colleagues at WIFTI for their unwavering support. 

This podcast has been made possible with the support of Coimisiún na Meán. 

To learn more about the work being done at WFT Ireland and to become a member, visit WFT.ie. 

About Kate Kinninmont

Kate is an award-winning producer and director who is passionate about developing female-led film and TV projects. She is an Honorary Associate of the London Film School, a Visiting Professor at the University of Hertfordshire and was awarded a Doctorate in Creative Arts (honoris causa) by the University of Bournemouth. She has a BA (Hons) from the University of Strathclyde and an MA from the University of Glasgow and is a Fellow of the Royal Society of Arts. Kate was CEO of WFTV(UK) for 11 years and was awarded an MBE for her campaigning work for women in the film and TV industries. She is a member of BAFTA, Directors UK and co-chair of the Advisory Committee of Women in Film & Television International. Since January 2019, she has been MD of The f Word Media Company.

About Susan Liddy

Dr. Susan Liddy is a lecturer and Assistant Professor in the Department of Media and Communication Studies in MIC, University of Limerick. She is also the EDII Faculty of Arts Lead (equality, diversity, inclusion and interculturalism) in MIC. Her research interests relate primarily to gender and diversity issues in the Irish screen industries; motherhood and caring; the representation of women in non-traditional industry roles; ‘harmful behaviours’ in the screen industries workplace; and the representation of older women on screen and behind the camera. She is editor of a number of national and international collections: Women in the Irish Film Industry: Stories and Storytellers (Cork University Press 2020): Women in the International Film Industry: Policy, Practice and Power (Palgrave Macmillan 2020); Women, Ageing and the Screen Industries: Falling off a cliff? (Palgrave Macmillan, 2023); co-editor of Media Work, Mothers and Motherhood: Negotiating the International Audio-Visual Industry (Routledge 2021). Susan has published in a range of academic journals and has also written popular pieces for newspapers etc. She has co-authored two industry reports Auditing gender and diversity change in Irish media sectors for the BAI (2021) and The Pursuit of Change: Issues Affecting Parents and Carers in Ireland’s Screen Industries (Raising Films Ireland 2022). She is currently co-authoring a report with Dr Fergal Rhatigan on harmful behaviours and workplace culture in the Irish screen industries for Women in Film and Television Ireland, funded by Screen Ireland’s Stakeholder Funding Scheme. Susan is the Chair of Women in Film and Television Ireland; President of Women in Film and Television International; Chair of the Equality Action Committee of the Writers Guild of Ireland; a board member of Raising Films Ireland and the Irish Film Institute. She is the Director of Catalyst International Film Festival, Limerick – a festival that prioritises films and filmmakers from underrepresented groups.

WIFTI Members: Join us for the Virtual Digital Summit – Write. Produce. Connect. on Thursday 31 October – REGISTRATION REQUIRED

Get ready for an exciting opportunity! The debut global virtual summit, write.produce.connect. is taking place on Thursday 31 October. This landmark event is dedicated to celebrating and connecting women and non-binary screen creators over 40, and it promises to be an inspiring and transformative experience.

Hosted by The Writers Lab and supported by WFT Ireland, Screen Ireland and WFTV UK, amongst other sponsors, this summit is more than just an event—it’s a movement. We’re bringing together industry leaders and trailblazers to provide invaluable insights, script-development intensives, and market incubation that will help you hone your craft, expand your community, and elevate your career.

What’s in Store:

• Engaging Panels: Hear from acclaimed writers like Karen Cogan (Bad Sisters, The Young Offenders) and screenwriters such as Olivia Hetreed (Girl with a Pearl Earring) as they share their journeys and insights.
• Noteworthy Producers: Learn from the best, including Ameenah Ayub Allen (Ali & Ava), Chelsea Morgan Hoffman of Element Pictures (Normal People, The Listeners, September Says), Claudia Bluemhuber, CEO of Silver Reel, about what it takes to succeed in today’s competitive landscape.
• Fireside Chats: Join us for a candid conversation with Charlie Covell (Kaos, The End of the F***ing World), moderated by Susan Soon He Stanton (HBO’s Succession).
• Masterclasses: Participate in exclusive sessions led by industry experts, including a masterclass with Kirsten Sheridan, hosted by WIFTI President / WFT Ireland Chair Dr. Susan Liddy, amongst many others.

This summit isn’t just about learning; it’s about building a powerful network of creators across the globe. Engage in key panels, skills-development sessions, and masterclasses designed specifically for women in film and television.

Event Details:

• Date: Thursday, October 31
• Time: 10:20 am – 5:45 pm CET
• Location: Online via Zoom
• Ticket price: £20

WIFTI members can register their spot for the virtual summit here. 

We hope you can join us in this celebration and advocacy for much-needed changes in our industry. Let’s connect, create, and inspire one another!