Today we’d like to introduce you to Dina Fiasconaro.
Alright, so thank you so much for sharing your story and insight with our readers. To kick things off, can you tell us a bit about how you got started?
My journey to filmmaking (and eventually, teaching) started with reading and writing. As an introvert, I always had a book or pen in hand, filling empty notebooks with middle-school poetry or as I got older, stealing books from my father, who studied and taught American literature.
It wasn’t until sophomore year of college that I was introduced to filmmaking as a career. Prior to that, my parents told me I was “good at arguing” and should be a lawyer, so I thought…I guess I’ll be a lawyer. I remember seeing Peter Jackson’s ‘Heavenly Creatures’ for the first time and being riveted by its anti-heroine protagonists, whose fantastical and violent world was expressed so visually and viscerally in that film. I was hooked; I wanted to write and direct films like that. And when I discovered women directors (‘The Piano’ by Jane Campion is my favorite film), there was no stopping me! I switched my major to TV, Radio & Film at Syracuse University, and then, when I desired more hands-on filmmaking experience, was lucky enough to get into Columbia University’s graduate film program.
After about a decade of grinding away in NYC as a filmmaker, I had an epiphany. I was tired of making money and entertainment for other people and not having enough time to devote to the stories I wanted to tell. I felt unfulfilled, but what else could I do? With a master’s degree, I could teach. But did I want to teach? No way! My parents were both teachers, and I am naturally rebellious, so I swore I would never teach. Remember I mentioned I’m an introvert? I am also socially anxious, and the thought of public speaking in front of a roomful of students was terrifying. Eventually, I reached a breaking point and decided to suck it up and give it a shot. I applied to a couple of higher-ed film departments across the country and eventually got the call from Stevenson University. Coincidentally, my partner and I were bingeing our way through ‘The Wire’ at the time, and I have to say, watching that show honestly made me excited to move to Baltimore, and now I couldn’t imagine being anywhere else. I truly believe I was meant to find this city, and I couldn’t be happier raising a daughter here, supporting and engaging with my students, running a film group (Baltimore Women’s Media Alliance) for women and non-binary filmmakers, and enjoying all of the art, culture, and community the city has to offer.
Can you talk to us a bit about the challenges and lessons you’ve learned along the way? Looking back, would you say it’s been easy or smooth in retrospect?
Definitely not easy! My introversion and anxiety can be a real hindrance at times, especially when I was younger. It prevented me from networking with other filmmakers, being assertive on sets, and even making it to job interviews at times. It is also very much in juxtaposition to my self-identification as a feminist and “strong woman.” Over time, I have been able to identify and avoid my triggers, and my confidence has grown out of practice, as uncomfortable as it can be connecting with people at times. I have learned that being a “strong woman” doesn’t equate to being the loudest person in the room, and I tend to gravitate towards other “quiet” leaders. I’ve also learned to not let my anxiety define who I am or the things I can or cannot achieve. As a woman in my 40s, I am now finally at a point where I can walk up to someone in a crowd and introduce myself or send an email asking for help or advice. My philosophy now (that I also try to instill in my students) is – what’s the worst someone can say. No? Or not answer my email or call? Then OK, thank you, and moving on.
As you know, we’re big fans of you and your work. For our readers who might not be as familiar, what can you tell them about what you do?
I work in a variety of film formats: short and long-form documentary, short and long-form narrative, screenwriting, and video installation. My current directing and screenwriting work focuses on personal, authentic, empathy-based narratives about addiction and recovery. This is a natural outgrowth of my previous work, which centers on mental health, trauma, and family dynamics. I’ve dedicated myself to telling stories about characters (primarily women and girls) who aren’t normally given a voice – the disenfranchised, misunderstood, ignored, and othered – and highlight their resilience in the face of adversity.
I am a filmmaker, mother, and professor, and these roles inform an integral part of my teaching and arts practice – developing my own voice while uplifting others. My personal experiences enable me to approach my work with gratitude, empathy, and intentionality, running inclusive and equitable film sets and classrooms that value collaboration and the well-being of my cast, crew, and students. For me, fulfillment as an artist and professor is more about ‘how’ I teach/create as it is ‘what’ I teach/create. Does this take “extra” work because we exist in systems that suppress and devalue this approach? Definitely. But I wouldn’t do it any other way because it has proven to be the path of fulfillment for me.
What do you like best about our city? What do you like least?
I love how diverse and artistic our city is. All of the free cultural events that I can take my daughter to. The fact that she’s growing up with other kids who don’t look exactly like her. Access to nature so close by (except as a girl who grew up on the Jersey Shore, I wish we were closer to the ocean)! What makes me angry and sad are the systemic issues that affect our marginalized community members and the stereotype that our city has to others looking in. This is a beautiful, multi-faceted city with so many positive things going for it – I wish everyone could focus on those positive aspects while also working collectively to change the things that aren’t.
Contact Info:
- Website: www.dinafiasconaro.com
- Instagram: @dfiasco
Image Credits
Mei Lin Mau
Lann E.
Brady Robinson
