SALUJA, RENU

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.

MORSE, SUSAN

Susan Morse, ACE

Born 1952

Susan Morse, ACE was Woody Allen’s primary editor from 1977-1998, during which time she edited twenty-two of his films, from Manhattan to Celebrity. She got an Oscar nomination for Hannah and Her Sisters, and five BAFTA nominations for various films by Allen. Morse has forty-one credits, and in the 2010s, she edited the third season of Louie and three episodes of Billions.

“The director,” Morse says, “has got built in how he wrote it, how it was conceived, the nuances of the performances he heard in his head, the problems he had in camera placement… It can distract him from really looking at it.”
—“On the Cutting Edge” by Desson Howe. The full interview can be found in the Appendix.

ATTIA, KAHÉNA

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.