Age, Biography and Wiki
Nina Menkes was born on 21 October, 1963 in USA, is a Director, Producer, Writer.
|Age||58 years old|
|Born||21 October 1963|
Nina Menkes Height, Weight & Measurements
At 58 years old, Nina Menkes height not available right now. We will update Nina Menkes’s Height, weight, Body Measurements, Eye Color, Hair Color, Shoe & Dress size soon as possible.
|Body Measurements||Not Available|
|Eye Color||Not Available|
|Hair Color||Not Available|
Dating & Relationship status
She is currently single. She is not dating anyone. We don’t have much information about She’s past relationship and any previous engaged. According to our Database, She has no children.
Nina Menkes Net Worth
Her net worth has been growing significantly in 2019-2020. So, how much is Nina Menkes worth at the age of 58 years old? Nina Menkes’s income source is mostly from being a successful Director. She is from USA. We have estimated Nina Menkes’s net worth, money, salary, income, and assets.
|Net Worth in 2020||$1 Million – $5 Million|
|Salary in 2019||Under Review|
|Net Worth in 2019||Pending|
|Salary in 2019||Under Review|
|Source of Income||Director|
Nina Menkes Social Network
In 2012, The Menkes sisters’ feature film “The Bloody Child” was selected as one of the best five films of the past fifty years by the Viennale International Film Festival, in Vienna, Austria.
Her Hebrew and Arabic language feature, “Dissolution” (2012), shot in Jaffa, was a collaboration with David Fire, who played the lead role as well as contributed to writing and editing.
The film won “Best Drama” at the Jerusalem International Film festival in 2010, and was a New York Times’ Critic’s Pick, being described as “exquisite and remarkable”. Most recently, Menkes has been touring with her cinematic talk “Sex and Power; The Visual Language of Oppression”, which has been presented at multiple high profile venues including AFI Fest, BFI London, Rotterdam Int’l Film Festival, Cannes, and Sundance. The talk is currently being made into a feature documentary, entitled “Brainwashed”. with support from Uncommon Productions, Susan Disney Lord, Abigail Disney and the CalArts Center for New Performance. Two of Menkes’s early feature films, “Queen of Diamonds and “The Bloody Child” (now in process), both starring Tinka Menkes, have been selected for restoration by the Academy Film Archive and Scorsese’s Film Foundation, with funding provided by the Hobson/LucasFamily Foundation. The re-release of “Queen of Diamonds” (Arbelos Film Distribution) was a critical hit, being widely hailed as a modern masterpiece and selected as one the year’s top ten films by Artforum magazine.
Menkes’s first fiction film without Tinka’s participation, “Phantom Love” (2007) premiered at Sundance to rave reviews. The film features Marina Shoif and Juliette Marquis in an unsettling examination of an enmeshed family in crisis. Shot on 35mm black and white film, DP Christopher Soos controlled the lighting with Menkes on camera.
In 2002 Menkes shot and co-created a feature length, experimental documentary in Beirut, Lebanon, “Massaker”, about the Sabra and Shatila massacre, which premiered at the Berlinale in 2005 and received a FIPRESCI Award.
Menkes, a first generation American, has received two DAAD Artist in Residence in Berlin Awards (1996, 2009). During her residencies in Berlin she tried to face the brutal truth of her family history.
Considered a cinematic feminist pioneer and one of America’s foremost independent filmmakers, Menkes has shown widely in major international film festivals including multiple premieres at Sundance, the Berlinale, Cannes (ACID), Rotterdam, Locarno, Toronto, La Cinematheque Francaise, British Film Institute, Whitney Museum of American Art, MOMA in New York, MOCA and LACMA in LA. Nina Menkes synthesizes inner dream-worlds with harsh, outer realities. She has been called “brilliant, one of the most provocative artists in film today” by the Los Angeles Times and her body of work was described as “controversial, intense and visually stunning” by Sight and Sound. Menkes typically controls all aspects of her movies, including directing, writing, operating camera, as well as editing picture and sound on her own productions. She has worked in various media including Super-8, 16mm, 35mm and lately HD. Her films have often met with hostility, as she confronts and expresses violence in an unusual way, creating and following her own rules. Menkes has referred to herself as a witch, and Dennis Lim, writing in The New York Times, called her a “Cinematic Sorceress of the Self. “According to film critic and historian Berenice Reynaud: [Menkes] does not inscribe herself in a recognizable avant-garde tradition, she has no master and no disciples, which forces her to reinvent the history of cinema in her own terms, to struggle alone with formal and conceptual issues. This loneliness – both aesthetic and economic – is also embedded in the texture of the work. Yet, it is not the cliché loneliness of the romantic victim – it is more akin to the ‘night of the soul’ evoked by the mystics, Dante’s travel though a dark wood – or the heroic solitude of the knight-errant. “For many years, Menkes worked closely with her sister Tinka Menkes, who was both her actress and creative collaborator, and Nina credits Tinka for many of the key radical aspects of their work. Menkes was one of the first women to present a feature film at the Sundance Film Festival (“Queen of DIamonds”, 1990 in dramatic competition). She has won a Los Angeles Film Critics Association Award for her first feature “Magdalena Viraga”, a Guggenheim Fellowship, two Fellowships from the National Endowment for the Arts, an Annenberg Foundation Independent Media Grant, an American Film Institute Independent Filmmaker Award, three Western States Regional Media Arts Fellowships and two Senior Fulbright Research Awards to the Middle East.
Nina Menkes has an MFA with high honors from the UCLA Film School (1989). She has taught film directing at the USC School of Cinematic Arts, at the Film and Television Institute of India (FTII), and is currently a faculty member at California Institute of the Arts.
Her mother’s family were German Jews who fled Hitler’s genocide, settling in Jerusalem in 1933; her father’s Austrian Jewish family were gassed to death: trauma, alienation and murderous violence are central to her work.