Filmmakers Who Edit: PARKERSON to PUERRER

Filmmakers Who (always or sometimes) Edit:
Parkerson to Puerrer

Michelle Parkerson

Cyrille Phipps

Pratibha Parmar

Laura Poitras

Karen Pearlman

Ursula Puerrer

Filmmakers Who Edit: GORDON to HOVDE

Filmmakers Who (always or sometimes) Edit:
Gordon to Hovde

Sabrina Schmidt Gordon

Suki Hawley

Dee Dee Halleck

Kathy High

Barbara Hammer

Ellen Hovde

Filmmakers Who Edit: BRADERMAN to CUEVAS

Filmmakers Who (always or sometimes) Edit:
Braderman to Cuevas

Joan Braderman

Mary Ellen Bute

Abigail Child

Michelle Citron

Shirley Clarke

Ximena Cuevas


Renu Saluja

1952 – 2000

Renu Saluja graduated from the Film and Television Institute in Pune in 1976 and began editing—a field which, at that time in India, was dominated by men. She worked with both mainstream and art house Hindi directors. Saluja has thirty-five credits, working on feature films, documentaries, short films, and TV series and is well known for editing 90s Indian classics like Jaane Bhi Do Yaaro (1983), Albert Pinto Ko Gussa Kyun Aata Hai (1980), Dharavi (1991), Bandit Queen (1995) and Calcutta Mail (2003).
Saluja won National Film Awards for Chopra’s Parinda, Mishra’s Dharavi, Mehta’s Sardar and Shukla’s Godmother; the Filmfare Award for two Chopra films, Parinda and 1942: A Love Story; and the Star Screen Award for Mishra’s Is Raat Ki Subah Nahin. Mishra’s Calcutta Mail was the last film she edited before her untimely death at age forty-eight. In 2006, she became the first editor to have an Editing Award named after her.

“I’m a film editor and I think, a damn good one!”
— “Luminary: Profile: Renu Saluja” by Karan Bali. The full text can be found in the Appendix.


Maysie Hoy, ACE

Born 1949

Maisie Hoy, ACE began working in 1975 for Robert Altman and continued for eight years, first as an assistant editor on Nashville and 3 Women and then as co-editor of The Player (with Geraldine Peroni). Hoy also edited The Joy Luck Club and Smoke for Wayne Wang. Between 2007-2014, she edited fourteen films for Tyler Perry, from Daddy’s Little Girls to The Single Moms Club. She received an Emmy nomination for Dolly Parton’s Coat of Many Colors. Hoy has thirty-nine film credits.

“It’s funny because the first editor I worked for in feature films was a Black woman. She was the first and the last. But I also worked with Maysie Hoy, who’s Asian-American. She’s a boss. She taught me to have confidence in who you are as an editor, and to speak not only with consideration and compassion but also with control. You walk into a room and people have preconceived notions of what you can do and how smart you are, but you can’t focus on that, because it will distract you.”
Making The Cut: Joi McMillon Reflects On ‘Moonlight,’ Her History-Making Oscar Nod” by Jihan Thompson. The full interview can be found in the Appendix.


Lillian E. Benson, ACE

No birth date available.

Lillian E. Benson, ACE began working in 1977, and was the editor of two episodes of Eyes on the Prize, nominated for an Emmy. She has eighty-one editing credits. Benson edited several feature films by black women directors, including Ayoka Chenzira’s Alma’s Rainbow, Christine Swanson’s All About You and Debbie Allen’s The Old Settler. Benson was the first African-American female editor selected for membership in ACE and serves on their board of directors. She received a Lifetime Achievement Award from the Black Hollywood Education and Research Center in 2017. The extensive list of documentaries Benson has edited about the African-American experience include those about the Freedom Riders, Maya Angelou, John Lewis, and the Alvin Ailey Dance Group.

“You always draw on the intuitive self…and if you’re familiar with the tools, and don’t have to think about how you’re working, then…that is the strength of having a system that works with your mind, and you don’t have to overthink how to get it to do what you want it to do.”
—“Making the Cut: Lillian Benson, ACE—Drawing on the Intuitive Self” by Jess Bedford. The full interview can be found in the Appendix.  





Kahéna Attia

No birth date available.

Kahéna Attia (sometimes also credited as Attia-Reveill) is a Tunisian editor who began her career as an assistant editor in 1971 and has twenty-five credits. Her first is for Ousmane Sembene’s Camp de Thiaroye; she also edited his Faat-Kine. Attia won best editing awards at the National Film Festival of Tangier for Rachid El Ouali’s Ymma and at FESPACO for Nadia Fares’ Honey and Ashes. She also edited Mohamed Challouf’s Tahar Cherera—In the Shadow of the Baobab, a documentary about the father of pan-cinematic Pan-Africanism and founder in 1966 of Carthage Film Days, the first film festival in Africa and the Arab World.

“For Guimba, I tried to show things from the point of view of an African woman. Cheick [Oumar Sissoko] allowed me to use all of the creativity I could bring and in this he was very respectful of my input; women can challenge State tyranny by means of seduction, an aspect that contributes to the film’s originality. The writing itself allows this aspect to be strengthened in a film directed by a man.”
Interview with Kahena Attia at FESPACO in 1997 by Olivier Barlet. The full interview (in French) can be found in the Appendix.