Can you rewrite a life? Burnt out on her career, successful LA actress Anna abruptly walks off her mind-numbing, sexist network show. She runs away to New York, hoping to reconnect with two old friends, former theater collaborators she'd abandoned for Hollywood who now find themselves struggling to survive in the rapidly gentrifying city. As Anna's arrival tears open old wounds all three are forced to reckon with their past and uncertain futures.

IFC Center, New York City

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please contact awomanapartmovie@gmail.com for more information
Speculative Pictures presents
in association with Infinitum Productions and Durga Entertainment

A feature film written and directed by Elisabeth Subrin

Maggie Siff
Cara Seymour
John Ortiz
Khandi Alexander
Dagmara Dominczyk
Lucas Near-Verbrugghe

Produced by Scott Macaulay, Shrihari Sathe
Executive Producers: Ahsan Zaman, Maggie Siff

Casting by Anne Davison
Cinematography by Chris Dapkins
Costume Design by Sarah Maiorino
Production Design by Erin Beaupre
Edited by Jenn Ruff
Music by Missy Mazzoli

ELISABETH SUBRIN (writer/director) is an award-winning filmmaker and visual artist whose films have screened widely at film festivals internationally. Her work has been shown in solo presentations at The Museum of Modern Art, The Jewish Museum, NY, The Vienna Viennale,The ICA/Philadelphia, and a critically acclaimed retrospective at Sue Scott Gallery, New York. She's received grants from The Rockefeller, Guggenheim, Annenberg and Creative Capital Foundations, and participated in The Sundance Institute Directors and Screenwriters Labs. She's an Associate Professor of Film and Media Art at Temple University.

SCOTT MACAULAY has, with his partner Robin O'Hara, produced and executive produced many award-winning features with directors such as Harmony Korine, Kitty Green, Tom Noonan, Alice Wu, Jesse Peretz and James Ponsoldt.

SHRIHARI SATHE produced Eliza Hittman's IT FELT LIKE LOVE. He is a co-producer on Partho Sen-Gupta's ARUNODAY (Sunrise) and Afia Nathaniel's DUHKTAR (Daughter). Sathe's directorial debut 1000 RUPEE NOTE (Ek Hazarachi Note) has won over 30 awards and is available on Netflix worldwide.

MAGGIE SIFF (Anna) is hailed for her work in television, on stage and in independent film. She stars opposite Paul Giamatti and Damian Lewis in the acclaimed Showtime series “Billions.” She Well known for her seven seasons as Tara Knowles on the hit FX series “Sons of Anarchy,” she made her debut as department store heiress Rachel Menken on the award-winning AMC series, “Mad Men." Recent films include CONCUSSION, THE FIFTH WAVE, and THE SWEET LIFE.

CARA SEYMOUR (Kate) has worked with some of the most respected and talented directors in the film world, including Martin Scorsese, Lars Von Trier, Mary Harron, and Spike Jones. Recent movies include the Sundance award winner AN EDUCATION, THE MUSIC NEVER STOPPED, and JACK AND DIANE. She currently co-stars in Steven Soderbergh’s Cinemax miniseries ”The Knick,” playing Sister Harriet.

JOHN ORTIZ (Isaac) is an award-winning actor who honed his craft on the theatrical stage of New York. He will be seen in multiple films in 2017, including REPLICAS, GOD PARTICLE, GOING IN STYLE and KONG: SKULL ISLAND. He appeared in STEVE JOBS starring Michael Fassbender and Kate Winslet and co-starred in the Academy Award-nominated film SILVER LININGS PLAYBOOK, as well as HBO's "Togetherness."


New York, NY
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  • "...actors often nowadays seem to have more freedom to push the boundaries of their art and to explore its radical possibilities. This is what Maggie Siff does in Elisabeth Subrin’s A Woman, a Part, a psychological study of just how contradictory and terrifying it can be to pretend, as a matter of professional duty, to be someone else." -- A.O. Scott, The New York Times

  • "Elisabeth Subrin's A Woman, A Part takes on the industry with grace, insight and some big ideas." -- Kate Erbland, Indiewire

  • "If only more American independent cinema was this poignant and compelling."-- Erika Balsom, Artforum

  • "Subrin’s drama is an insightful, heartfelt examination of acting, and how it can allow us to access emotional parts of ourselves that we otherwise wouldn’t but can also serve as a cover against being truly genuine. Siff, so incredible this year on Billions, proves that her continually rising fame is no fluke, while Seymour and Ortiz deliver in supporting roles. A Woman, A Part owes a debt to John Cassavetes in the way it examines gender roles and the life of an actress, but it feels confidently its own piece at the same time." -- Brian Tellerico, RogerEbert.com

  • "A lovely surprise... For her feature debut Subrin took what feels like a radical approach of entrusting the truth of her story to highly skilled actors. There are a few poetic flourishes, but A Woman, A Part is about emotional honesty... All three actors are wonderful..." -- Susanna Locascio, Hammer to Nail

  • "There are thematic, if not tonal, parallels with Olivier Assayas’ Clouds Of Sils Maria, and it’s likely that the film will appeal to a similar demographic with a taste for sophisticated storytelling about well-developed female characters." -- Wendy Ide, Screen International

  • "Subrin proves a gifted director of actors, and the film, in its small-scale theatrical vigor, is an excellent showcase for its leads." -- Calum Marsh, The Village Voice.

  • "For her feature debut, Subrin forsakes the experimentalism of her short films and video installations for a relatively conventional narrative and storytelling grammar. No matter: A Woman, A Part is compelling all the same..." -- Kenji Fujishima, Brooklyn Magazine.

  • "Shot meticulously by cinematographer Chris Dapkins, who previously collaborated on Tim Sutton’s “Memphis” and “Pavillion,” you rarely see Anna whole, often scattered across each scene as she attempts to piece herself back together and while she drifts the streets of the city, there’s no one you’d rather follow than Siff, who brings a confidence to the character even as Anna experiences a breakdown…. The way Subrin’s mosaic-like structuring comes together is quite rewarding, carefully calibrated in its haunting musical choices and nuanced performances, and whether or not Anna can rekindle her own passion, that zeal is felt throughout A Woman, A Part..." -- Stephen Saito, The Moveable Fest

  • “The performances are all wonderfully lived in, with Siff, Ortiz and Seymour all portraying a real sense of shared history… It’s the dynamics between these characters and their feelings of discontentment that elevates A Woman, A Part from a smart character study to a film that unveils emotional introspection at every given turn, becoming something evocative and timely. A Woman, A Part is a strong showcase for all involved, Subrin in particular, who’s innovative and artful direction inspires a sense of wonder.” -- Allyson Johnson, The Young Ones

  • "This Is How You Make a Feminist Film About Hollywood" - IndieWIRE
  • "The Creative Utopia of A Woman, A Part" - NEW YORK Magazine
  • "Maggie Siff on Her New Feminist Film About Actresses" - W Magazine
  • "At BAMcinemaFest, Provocative Films With a Female Perspective" - WALL STREET JOURNAL
  • "Maggie Siff on her latest film and second season of Billions" - FORBES
  • "How To Survive Production Nightmares and Stay True to Your Vision - A Woman, A Part" - NO FILM SCHOOL
  • "Filmmaker Elisabeth Subrin on her Feminist Film"- NYLON Magazine
  • "Elisabeth Subrin: A Woman, A Part" - SCREEN DAILY
  • "Elisabeth Subrin discusses A Woman, A Part, filmmaking, and constructing identity" - Channel 13