Editor’s Note: Each March, in celebration of Women’s History Month, Reel Chicago shines a spotlight on the remarkable women shaping Chicago’s film, television and advertising community. From directors and producers to editors, strategists and creative leaders, these women bring talent, vision and determination to an industry built on collaboration and storytelling. Through our Reel Women series, we invite them to share their journeys, the lessons they have learned and the experiences that continue to inspire their work.
Today we include Amanda Gecewicz, Chicago-based film director and screenwriter in our celebration of Reel Women.
Amanda Gecewicz is an award-winning Chicago-based film director and screenwriter whose work explores the distortion of memory, time, and human morality. A graduate of DePaul University with a BA in Digital Cinema Production, she focuses on character-driven stories that explore moral ambiguity and internal conflict.
Let’s hear Amanda’s story.
What’s your origin story? Where did this journey really begin?
My earliest memory is sitting on the living room floor watching The Wizard of Oz around Thanksgiving, completely captivated. I became enamored with classic cinema early on. My grandma lived next door, and I’d drive my Barbie Jeep over to her house daily, where we’d spend hours watching I Love Lucy and The Twilight Zone. Lucille Ball and Rod Serling shaped my taste early on, from sharp comedic character work to psychological, high-concept storytelling.
I would frequently sneak my dad’s Sony camcorder out to the backyard, filming whatever I could. I fell in love with filmmaking early, and for my eighth birthday, my parents gave me my own camera, a gift that changed everything.
That curiosity became craft at DePaul University, where I earned a BA in Digital Cinema Production. Storytelling hasn’t been a pursuit. It’s constant. Cinema is my heartbeat.
When you walk into a room today, what do you want people to understand about you before you even speak?
I want people to feel a sense of warmth right away. This industry moves quickly, but I try to bring a grounded, collaborative energy into every room. I’m naturally a bit self-deprecating, which I think helps put people at ease, but I’ve also learned how to balance that with clear boundaries. More than anything, I want people to feel that I’m present, attentive, and someone who genuinely values the people around me.
What’s one decision you made that shifted your trajectory?
Transferring to DePaul as a junior was a turning point. I had graduated high school early and started community college at 17, still figuring out what I wanted to do, and was stepping into an industry that felt vast and intimidating. I started in acting because, as a woman, I didn’t yet see where I fit behind the camera.
That shifted when I took my first production class. Every week, we were tasked with going out and making a film. We’d check out equipment from “the cage,” collaborate with our group, and create. It was the first time filmmaking felt tangible and accessible.
That’s when it clicked. I realized I didn’t want to be in front of the camera, I wanted to write and direct. More importantly, I understood I didn’t have to be in Los Angeles to do it. I could build my own work on my own terms. That class changed everything.
Blackhatter, short film, written, directed and produced by Amanda Gecewicz
Chicago’s production landscape continues to evolve. Where do you see the biggest opportunity for women right now?
I think the biggest opportunity right now is access and community. In Chicago, there’s a strong independent production scene, and more women are creating their own work and supporting each other in the process. You see it in smaller crews, more collaborative sets, and people stepping into multiple roles to bring projects to life. There’s less reliance on traditional gatekeepers, which creates more space to experiment, collaborate, and lead.
Imposter syndrome is real for many women. When did you stop questioning whether you belonged in the room?
My mom was diagnosed with Alzheimer’s in her late 50s, and I’ve taken on the role of her caretaker. She’s now about five years into the disease. Personality-wise, she was a combination of Chris Farley and John Candy, big-hearted, incredibly giving, and the most naturally funny person I’ve ever known. It’s hard to speak about her in the past tense, though there are still glimmers of her personality present.
It’s the most heartbreaking thing I’ve experienced, but it’s shifted my perspective. Her sense of humor is ultimately what has helped me move past imposter syndrome. Because of her, I have a more light-hearted approach to things. When I walk into a room where I might have once questioned whether I belonged, I think about her. She was fearless and loved people without hesitation. That’s what I try to carry with me. That’s when things started to shift for me.
The doubt doesn’t disappear, but it gets quieter.
What conversation about women in this industry still isn’t being said loudly enough?
I don’t think we talk enough about the pressure for women to harden themselves to be taken seriously, and the tightrope that creates between being likable and being respected. There’s still an expectation to strip away parts of your personality to lead, which can shape how women show up in ways that aren’t always authentic. I’ve felt that tension in my own experience.
Warmth, empathy, and collaboration aren’t weaknesses, they’re strengths. There’s room to lead in different ways, and that shift is still happening.
Have you ever walked away from a lucrative opportunity because it didn’t align with who you are or where you’re headed?
After I graduated from film school, I built a freelance career and started my own wedding videography business. It’s been rewarding, but like most freelance paths, it’s unpredictable, especially while funding my own work as a writer and director on the indie side.
At one point, I was offered a full-time, salaried producer role at a commercial studio. It was the kind of opportunity that offers stability and a clear trajectory. But it also required being onsite every day with a workload that would have left little room for anything else.
I turned it down. I value time with my family, especially with my mom, and I know that time is limited. I also wasn’t willing to step away from my own creative work to take it. Stability is important, but so is building something that feels true to me.
What are you building that will outlast you?
Honestly, kindness. I know it might sound cliché, but it’s something I think about a lot. The world feels different now, especially with social media, and I grew up in a time and place where people really showed up for each other. That sense of community has always stayed with me.
More than anything I create, I care about how I treat people and the kind of spaces I help shape, especially on set and in collaboration. I hope my work is thoughtful and makes people feel something, but how I make people feel in the process matters most to me.
Name three women in the Chicago industry you’d like to shine a spotlight on.
Brie Spaulding – A talented actress and singer-songwriter, and a dear friend. She starred in my first film out of school, and I later produced her music video for “Flowers for the Dead.” She brings a real depth and vulnerability to her work. Her resilience is something I deeply admire. She’s faced challenges and never let them define or limit her.
Candice Rose – An actress and producer whose recent film Gaia premiered and won at the Gasparilla Film Festival. I was lucky enough to attend the premiere, and watching her bring that project to life through determination and fundraising was incredibly inspiring.
Katharin Mraz – A director and multi-hyphenate creative I deeply admire. She has an incredible work ethic, is always building something new, and leads with a collaborative, uplifting energy. ve!)
If you could change one structural thing about this industry tomorrow, what would it be?
Access to funding for independent filmmakers. Working in the indie space, I’ve seen how often people are self-funding just to get their work made, and how limiting that can be. It’s something I navigate in my own work as well. Beyond that, access to studio space, equipment, and resources can be incredibly expensive, which makes it even harder to sustain that work.
I also think there’s a gap in stepping-stone opportunities for people just starting out. When I graduated, I thought I had to move to Los Angeles, which feels like the typical path, but there are so many resources and opportunities here in Chicago. They just aren’t always visible or accessible to those outside the mainstream.
There’s so much talent and so many stories that never get realized because the resources and support systems aren’t there. Making funding, resources, and early-career opportunities more accessible would open the door for more voices and more sustainable careers.
What’s the title of the chapter you’re currently living in?
“Momentum.”
It feels like a transitional period in the industry and instead of waiting for things to pick up, I’ve been going out and making work. I’m lucky to have a group of friends who are just as passionate, and we’ve been shooting projects together, unpaid, just for the craft of it.
That’s where the momentum is coming from. By doing that, I’m building toward the bigger projects I want to make, and it’s given me the confidence to revisit earlier work I created when I was just starting out. The ideas were always there, but now I have a clearer perspective on how to execute them.
After all the grind, what still excites you?
The challenge! This industry isn’t easy, and it’s not supposed to be. There’s always something to figure out, whether it’s creatively or logistically, and that’s what keeps me engaged. Nothing worth having comes easily, and I’ve learned not to be afraid of that. I thrive in it.
Right now, that looks like stepping into new territory. I’m in the process of fundraising for a larger project, which has been a challenge in itself. I’ve also started writing my first book. It’s become a creative outlet for ideas I can’t yet bring to life on screen. It’s exciting to see how many doors can open when you stay open to the process.
Bonus: What song plays in your head when you land a big win? And do you happy dance?
“Bittersweet Symphony” by The Verve. It captures that feeling of everything being a little complex, even in a win. There’s excitement, but also reflection and everything that led up to it. And yes, there’s definitely a happy dance, one I came up with when I was 10 years old and still do!
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