Emili Weintraub didn’t set out to become a filmmaker; she pivoted from a degree in criminology to a master’s in film directing, bringing her bold aesthetics, unique voice, and artistic acumen to film sets in Staten Island.

“Honestly, I had no idea what I wanted to do,” she admits. While her love of crime documentaries made criminal justice feel like a natural fit, internships at a museum and law firm quickly made her realize that she couldn’t see herself in either field. “I’m the type of person who can’t just do something for the money; I have to love it.”

In her senior year, a screenwriting class and a prompt from a professor became the spark that redirected her path. When asked about her plans post-college, Weintraub confessed that she didn’t want to pursue criminology or law. “Have you ever thought about film school?” he asked, a notion that had never previously occurred to her. After a gap year spent researching programs, she enrolled at the School of Visual Arts in New York City, where she earned her master’s degree in film directing. She chose SVA’s intensive and immersive one-year program due to its affordability and rigor, and it was there that she created her thesis short film, She Ate That!, now making its way through the festival circuit.

Growing up, Weintraub was always captivated by movies. “Back to the Future comes to mind instantly – a classic. I recently rewatched the trilogy as an adult and was like, ‘Wow. I’m a kid again.’ Creating a movie like that is one of my goals,” she says. Other films, such as the renowned romantic comedy 10 Things I Hate About You, remain her comfort films, while Shakespearean and musical films such as The Sound of Music resonate deeply. “I’m very into set design. That’s something I prioritized in my short. I think it’s what brings you into the world. With Back to the Future and The Sound of Music, you’re fully transported. That’s what I aspire to.”

Despite being born and raised in Staten Island, Weintraub didn’t initially see it as a hub for filmmaking. “There weren’t a lot of film influences here,” she began. “Staten Island’s most famous people are mostly comedians — Pete Davidson, Impractical Jokers — so that’s why I didn’t even think about film school as an option.” She gives a shoutout, though, to auteur Damien Leone, director of the Terrifier series, for his work with New York crews. “Hopefully, good things will come from Staten Island.”

For Weintraub, the thrill of starting a new project lies in the script. Though her stories aren’t necessarily autobiographical, they contain key pieces of her own experiences. She collaborated with a writer, working over Zoom in order to hone and fine-tune drafts, adding her voice to the project all throughout the process. But the biggest challenge? The budget.

“Especially regarding sound,” Weintraub notes. “I went over budget, but my professor said, ‘It’s an investment in your future.’ I fundraised, received scholarships, and dipped into my savings, and I’m glad I did it.”

Aesthetically, her influences include Heathers, But I’m a Cheerleader, and Clueless, films where costumes and colors operate as extensions of character. “I wanted a campy and in-your-face set design that simultaneously makes sense and doesn’t. Very surreal,” she says. The SVA program in and of itself is a whirlwind: Weintraub began building her screenplay in October and was on set by March, with film premieres set for the month of May. However, the project was successfully completed, and even minor continuity errors with chunky hoop earrings were navigated effortlessly.

Festival submission has brought both excitement and anxiety. “Submitting to festivals is a lot of fun, but it’s also very overwhelming and intimidating,” she explains. “So many people submit that I can’t even imagine what being a festival programmer would be like.” Despite initial rejections, Weintraub’s film has been accepted at local New York and New Jersey festivals and, most recently, at The Indie Gathering in Ohio. “Seeing your film in a theater is honestly such a beautiful moment. I’ve really loved my time at festivals.”

Beyond directing film, Weintraub has explored other artistic avenues such as shooting music videos, although she remains grounded in filmmaking for the time being. Her ultimate goal is to expand her short film She Ate That! into a TV series reminiscent of Sex and the City meets Broad City. “I want to write more, maybe do commercials, and definitely more music videos.”

To Weintraub, collaboration is key, and she welcomes partnerships across disciplines. About what potential future collaborators Weintraub would consider working with, she comments, “Honestly? Anyone. That’s why I love Instagram. This interview began with a direct message. I love social media and would like to get into the content creation sphere.” When describing how she’d like her future body of work defined, Weintraub doesn’t mince words: “Cult classic. I don’t want to be the most famous director. If my work doesn’t blow up now, but people find it later and it resonates, that’s perfect.”

Rapid-fire insights reflect her candid thought process and approach to filmmaking. She sees AI as a bigger threat to filmmaking than streaming services, dreams of casting Rachel Sennott, enjoys popcorn with Peanut M&Ms during a movie, and considers over-communication a must-have habit for any amateur filmmaker hoping to break into the industry. She remains skeptical of fake film festival “strategy” gurus and shares hot takes such as Nosferatu as being the most overrated film of 2024.

Looking ahead, Weintraub plans to release her film She Ate That! on YouTube this fall, alongside a new trailer, then develop a pilot, potentially expanding the concept into a full series. Also on the agenda? More music videos. With her sharp eye, keen sense of humor, and distinctive style, Emili Weintraub is a filmmaker whose name you should watch out for.

Photos courtesy of Shiyu ‘Sally’ Zhou | Interviewed on August 11, 2025