To provide some context, in 2019, no women over 50 were cast in lead roles in top-grossing films across the US, UK, France, or Germany. While 75% of characters over 50 in films are men, only 25% are women. The “Ageless Test,” which requires that films feature at least one woman over 50 who is essential to the plot and not reduced to ageist stereotypes, found that just one in four films portray women over 50 as fully developed characters, rather than relegating them to background roles.  

When older women do appear, they are often portrayed as grumpy, unfashionable, or unattractive. Sex scenes are three times more common for characters under 50. Even in 2021’s top 100 films, only seven featured women over 45 in leading roles, compared to 27 for men of the same age. 

WOFFF, by contrast, celebrates older women—both in front of and behind the camera—and pushes back against these damaging stereotypes. 

Nuala O’Sullivan, originally from Scotland and now based in London, has been the driving force behind WOFFF since its inception. The festival, held at the Depot cinema in Lewes, UK, also offers an online platform, making it accessible to audiences worldwide. 

TCL. How did WOFFF start? 

Nuala. I was producing a short film and noticed, while attending other festivals, the lack of older women on screen, in the audience, or even at the bar afterwards. I usually feel comfortable in arts spaces, but I felt invisible. It was my first real experience of middle-aged invisibility, so a few friends and I decided to take action. We created the Short Hot Flush Film Festival, asking three key questions: Is there work by older women out there? Do filmmakers want to share it? Do audiences want to watch it? 

In 2015, we rented a community hall with 80 seats—and all 80 seats were filled. We screened 27 short films from over 60 international submissions. Clearly, there was a need for this festival. Since then, WOFFF has only grown. 

TCL. Do you show films by men? 

Nuala. Yes! We welcome films from anyone, as long as the film features a woman over 50 or is written, directed, or produced by a woman over 50. For example, a young male filmmaker could create a documentary about a woman in her 60s, and they would both be welcomed at WOFFF. 

We also offer free submissions for students to encourage the next generation of filmmakers to consider older women as part of their stories. 

TCL. How did WOFFF find its home at Depot cinema? 

Nuala. I met Depot’s Creative Director, Carmen Slipjen, at a programming event, and she invited us to hold WOFFF at the Depot. I visited and was blown away. It’s a perfect space for a festival, with great breakout areas, food, drink, and a beautiful garden for people to relax and discuss the films. 

TCL. Who is your target audience? 

WOFFF is for everyone. Inclusivity is at our core. About 75% of our audience are women over 50, 10% are men over 50, another 10% are younger women, often in their 20s or 30s, and we have a small percentage of nonbinary attendees. 

We also have a core LGBTQ+ audience, partly because WOFFF started in Brighton, one of the UK’s most LGBTQ+-friendly cities. We aim to create a safe, creative space for younger people to explore aging and find role models. A young woman at our first festival said her favorite part was “hanging out with cool older women.” There’s so much pressure on younger women to be “ageless” and “forever youthful.” At WOFFF, we take a different approach—we celebrate aging and show that there’s no one way to grow older. 

TCL. How is WOFFF funded? 

Nuala. We’re a one-day festival funded through filmmaker submission fees, ticket sales, advertising, sponsorship, and support from the British Film Institute and Film Hub South East. 

We’re especially excited about a new partnership with Virgin Atlantic. In summer 2024, WOFFF will launch a world-first program of dementia-friendly short films as part of Virgin’s in-flight entertainment. These films, which rely more on music and movement than dialogue, are designed for passengers living with dementia and their companions. 

Outside the festival, WOFFF’s Moving Pictures project brings cinema to care homes and community venues across the UK, helping reduce isolation. Last year, we hosted 27 events that reached more than 500 people. 

TCL. Have the films submitted to WOFFF changed over the years? 

Nuala. Yes. Some filmmakers now create specifically for WOFFF, often because they’ve had work screened here before. As our reputation has grown, so has the number of big names in our films—Joanna Lumley, Celia Imrie, and Toyah Willcox have all featured. 

We’ve also seen more submissions from international filmmakers. Last year, we screened 56 films, including works from the UK, Ireland, the US, Mexico, South Africa, and more. 

TCL. What’s your selection process? 

Nuala. We have a team of volunteer selectors from diverse backgrounds who watch and score every film. Each film is seen by at least two people, including me. Ultimately, I’m looking for strong storytelling that hooks me from the start, especially if the story or filmmaker offers a fresh perspective. 

Our audience often says WOFFF films have a special quality—just when you think you know where the film is going, it takes you somewhere unexpected. 

TCL. What power does film have? 

Nuala. Watching a film with others is a unique experience—your emotions are heightened by the collective reaction. Film sparks conversations, often about big topics like love, politics, or death. It has the power to transform how we think and feel. 

TCL. And the power of WOFFF? 

Nuala. WOFFF is fun, fearless, and real. We’d love to have you join us!