Ohio-based Julia Reichert is a four-time Academy Award nominee and Oscar winner for her documentary work, which explores class, gender and race. Julia’s student film GROWING UP FEMALE was the first feature documentary of the modern Women's Movement, and was selected for the National Film Registry by the Library of Congress. Her films UNION MAIDS and SEEING RED: Stories of American Communists, (with Jim Klein) were nominated for Academy Awards for Best Feature Documentary, as were THE LAST TRUCK (as a short) and AMERICAN FACTORY 美国工 (with Steven Bognar) which won the 2020 academy award. Her film A LION IN THE HOUSE (also with Bognar) premiered at Sundance and won the Primetime Emmy for Exceptional Merit in Nonfiction Filmmaking. Reichert and Bognar’s films A LION IN THE HOUSE (2006), AMERICAN FACTORY 美国工 (2019), and 9TO5: THE STORY OF A MOVEMENT (2020) are available on Netflix.

Reichert & Bognar’s newest film, UNTITLED DAVE CHAPPELLE DOCUMENTARY, is an official selection of the Tribeca Film Festival. The film has premiered at Radio City Music Hall, The Kennedy Center, and The Hollywood Bowl.

Julia is co-founder of New Day Films, the independent film distribution co-op. She was an advisor on the creation of the IFP and the PBS series P.O.V, and is co-founder of Indie Caucus.  She mentored dozens of emerging filmmakers over the years as a Professor of Motion Pictures at Wright State University. Reichert is also the author of Doing It Yourself, the first book on self-distribution in independent film. She is a member of both the Academy of Motion Picture Arts & Sciences and the Television Academy.  In 2018, the International Documentary Association (IDA) gave Julia their Career Achievement Award.  In 2019, the Museum of Modern Art and the Wexner Center for the Arts teamed up to present a traveling retrospective of Julia’s films. She is also a proud mom and grandma.

 

 

Films by Julia Reichert

Growing Up Female

Growing Up Female is the very first film of the modern women's movement. Produced in 1971, it caused controversy and exhilaration. It was widely used by consciousness-raising groups to generate interest and help explain feminism to a skeptical society. The film looks at female socialization through a personal look into the lives of six women, age 4 to 35, and the forces that shape them--teachers, counselors, advertising, music and the institution of marriage. It offers us a chance to see how much has changed--and how much remains the same. Purchased by more than 400 universities and libraries.

Union Maids

Sitdowns, scabs, goon squads, unemployment, hunger marches, red baiting and finally the energetic birth of the CIO:  the 1930s were a landmark period for the American labor movement. Union Maids is the story of three women who lived that history and make it come alive today. It was the first film of its kind–an oral history, using a wealth of footage from the National Archives to chronicle the fight to form industrial unions as seen through the eyes of rank and file women. The film was widely distributed in 16mm, including theatrical dates in about 20 cities.

Seeing Red

A film about passionate commitment, numbing disillusionment and renewal, Seeing Red is an informed look at the hopes and aspirations of more than a million people who joined the American Communist Party between the Great Depression and the Cold War, and were transformed by their experience. Fighting for the causes of unionization, unemployment and Social Security benefits, and the eight-hour day, they committed themselves to what they believed was the right way for America. Not just a rosy remembrance, Seeing Red looks critically at the party’s connection with the Soviet Union and its lack of internal democracy. An invaluable resource for courses in political science, political sociology, and social movements.

One of the most widely seen theatrical documentaries of the decade, Seeing Red premiered at the Telluride and New York Film Festivals and played in nearly 100 cities, including 10 weeks in New York City, 10 weeks in the San Francisco Bay area, 7 weeks in Boston and Seattle, and 5 weeks in LA. It has been broadcast in over a dozen other countries around the world. In 1989 it was chosen as one of five feature documentaries representing American work in the 1980’s for the 50th Anniversary Celebration of the National Film Board of Canada.