Alumni Spotlight

February 25, 2025

Mahnoor Euceph

MFA Cinema & Television '21

Mahnoor Euceph MFA Bio Pic

Mahnoor Euceph is a writer and director from Los Angeles. She graduated Summa Cum Laude from UCLA, with a BA in Design | Media Arts and a minor in Film, TV, and Digital Media, and received her MFA from USC’s School of Cinematic Arts in Film and Television Production. Her debut short film, Eid Mubarak, was predicted by Variety to be nominated for Best Live Action Short Film at the 96th Academy Awards, and went on to be longlisted for the honor as one of 187 films worldwide. In 2024, Mahnoor was selected for Proof of Concept, an accelerator program by Cate Blanchett, Coco Francini, and Dr. Stacy L. Smith, by a committee that included Greta Gerwig, Lilly Wachowski, Chloé Zhao, Emma Corrin, Eva Longoria, Jane Campion, Janicza Bravo, and Lily Gladstone. She was also selected for the prestigious Pillars Artist Fellowship by Pillars in partnership with Riz Ahmed and Left Handed Films. 

Mahnoor is interested in exploring entertaining stories about the South Asian diaspora through the female gaze, stories that seek to decolonize minds, encourage radical self-love, and make you laugh. She is currently in development on her debut feature, a teen girl coming-of-age film.

Q1: What inspired you to become a writer and director?

ME: I’ve always been deeply passionate about the arts and film. As a child, I watched a lot of movies - some of which, in hindsight, I probably shouldn’t have been watching at such a young age. My parents, both very creative and immersed in the arts, had a relaxed approach to what I consumed. Family movie nights were a big part of my upbringing. For instance, I remember watching Gladiator when I was only eight, and my parents didn’t see any issue with it. That openness shaped my early fascination with cinema.

When I was in the fourth grade, my dad introduced me to the concept of a film director. He explained that directors are the leaders of the creative process, the ones who bring a vision to life. His encouragement to take on leadership roles in whatever I pursued planted a seed in my mind. From that moment, I began to see filmmaking as something that could combine my love for storytelling, creativity, and leadership. I was always drawn to various forms of art. I loved writing and often found myself creating stories, even as a child. Recently, while working on my current film project, I revisited some of my old diaries and found entries from fourth grade where I was attempting to write novels. Writing and directing felt like the perfect way to channel all my creative interests into one cohesive vision.

For a while, I dreamed of becoming the president, only to learn that the role wasn’t available to naturalized citizens. That realization sparked a pivot, and I began to focus on how I could channel my ambitions into something equally impactful. In high school, I became increasingly politically aware and passionate about history. I considered pursuing a career in politics but ultimately felt that film had a unique ability to influence people’s hearts and minds. As I studied cinema further, I became inspired by Third Cinema and its philosophy of film as a powerful empathy-building tool. I realized that filmmaking could serve as a way to not only express myself but also contribute meaningfully to the world by fostering understanding and social change. For me, a career has never been about financial gain; it’s about purpose. I’ve always aspired to use my talents to leave the world a better place. Film felt like the ideal path to achieve that - a medium where I could combine my skills, creativity, and vision to make a meaningful impact. On a personal note, I immigrated to the U.S. from Pakistan in the third grade. For me, filmmaking became that path - a way to tell stories that matter and inspire change.

Q2: Was attending the USC School of Cinematic Arts always part of your plan? Can you share what the journey to getting here was like?

ME: I completed my undergraduate degree at UCLA, majoring in design with a minor in film. My design program was part of the art school and had a very experimental focus, incorporating a lot of technology. While I enjoyed that, my film minor was where I truly found my passion. In fact, one of the main reasons I chose UCLA was because of the opportunity to pursue that minor, as well as the ability to study abroad and explore different paths. At the time, I didn’t feel my portfolio was strong enough to gain admission directly into a film program, but I had a solid background in the arts and felt I could excel in design while still working toward my ultimate goal of transitioning into film.

During undergrad, I gained invaluable industry experience, working at 20th Century Fox, UTA, and various production companies. I even traveled to Pakistan to work with Sharmeen Obaid-Chinoy, Pakistan’s only Oscar-winning filmmaker. Looking back, I realize I was constantly seeking ways to break into the film industry. By the time I graduated, I decided that the only way to truly establish myself was to start creating my own films. As someone who’s always loved learning, I felt that pursuing graduate school would be the best path for me. I’ve always admired studiousness - Hermione Granger is forever on my vision board - and I’ve found joy in studying, reading, and honing my skills. Coming from an immigrant background, I didn’t have many connections in the arts or entertainment industry, so I felt that further education could provide the guidance and structure I needed to navigate this path.

When researching film schools, I sought a program that contrasted with the conceptual nature of my undergraduate studies and offered a more structured, mainstream approach. My goal has always been to create films that are widely accessible to large audiences, and I wanted to be deeply involved in mainstream Hollywood. After extensive research and conversations with students, USC stood out as the ideal choice. It was ranked as the top film school at the time, and as a second-generation Trojan - my father also attended USC - it felt like the right fit. I took a significant leap of faith and applied only to USC, believing that if I got in, it would be a sign to fully commit to this path. Fortunately, I was accepted, and since then, I haven’t looked back.

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Q3: Which areas of the arts were you engaged in while growing up prior to pursuing your master’s degree in film, and how did they influence or intersect with your filmmaking?

ME: A popular story in my family is that I could use a computer mouse before I could even speak, read, or write. From a very young age, I was drawn to creating things on the computer. I started with old-school MS Paint and later learned CorelDRAW from my dad. After we immigrated to the U.S., our financial circumstances shifted dramatically - we lost much of what we had in Pakistan and faced significant challenges.

By middle school, I found myself with a lot of free time during summers when others would go on vacation. Out of boredom, I began exploring digital tools and taught myself programs like Photoshop, often through less conventional means. I became fascinated with transformation games, inspired by shows like What Not to Wear and Trading Spaces. I started experimenting in Photoshop by altering photos - changing body shapes, hair colors, eye colors, and creating realistic transformations. This eventually led me to explore digital art, particularly Pop Art and other styles of graphic design. Around the same time, a teacher sparked my interest in art history. I had worn a dress to school with a Mondrian-inspired design, and when my teacher explained the artist’s work and significance, it opened a door to my curiosity about design and art movements. I became especially captivated by Bauhaus principles and typography, diving into the history of typography and design. Over time, my interests expanded from graphic design to fine art. I studied art history in college and spent a semester at Sotheby’s Institute of Art, where I explored the art market while also continuing my studies in film. These experiences cultivated a deep appreciation for how various artistic disciplines intersect and inform one another.

Q4: While pursuing your MFA in Film/TV Production, were there any classes, professors, or experiences that made a lasting impression on you?

ME: There were so many influential experiences during my time at USC, but Bruce Block’s class truly transformed my perspective on filmmaking. Coming from a strong background in design and art, his teachings resonated deeply with me. At the time, I was also heavily involved in production design, and his approach to visual storytelling provided a framework that felt both intuitive and inspiring. His class helped me understand how to apply my skills to filmmaking in a more deliberate way, particularly in visual storytelling. For instance, when starting out, it can feel overwhelming to make creative decisions, like choosing a color palette or defining a visual style. Bruce Block broke down the fundamental principles of visual storytelling - what happens in the frame, how to manipulate visual elements, and how to use those tools to create a cohesive plan for a film. His intelligence and clarity made learning from him feel almost magical, like gaining wisdom on a quest from a master.

I also worked closely with Michael Provart, whose mentorship in production design was invaluable, thanks to Gail Katz introducing me to the TV Drama class. That experience opened up incredible opportunities for me to explore production design and connect with industry professionals. Both Michael and Gail were instrumental in shaping my experience at USC and provided me with opportunities that enriched my skills and broadened my network. Unfortunately, the pandemic disrupted some of my plans, particularly my goal to dive deeper into cinematography by my third year. However, I was fortunate to learn from Linda Brown and Diane Farrington, two exceptional female cinematographers whose mentorship was incredibly empowering. Linda Brown in Intermediate Cinematography demystified the technical aspects of cinematography, which I initially found intimidating. Her teaching style gave me the confidence to explore the field more deeply, and I thoroughly enjoyed the hands-on learning experience in her class. The pandemic limited my ability to continue with advanced cinematography, but I remain grateful for the foundational knowledge I gained and for having such inspiring professors. Their encouragement and expertise made a lasting impact on me and my creative journey.

Q5: Your work often explores narratives focused on women and the South Asian diaspora. Do you incorporate your own personal experiences into your storytelling, and if so, why? If not, what influences your creative process instead?

ME: I often process my personal experiences through my films, but my work is always guided by a larger mission. As a Pakistani woman from a formerly colonized country, and someone who is deeply aware of the systemic challenges faced by marginalized groups, I feel a strong responsibility to create art that empowers. I want to provide audiences - especially those from traditionally oppressed communities - with images and stories that inspire personal transformation, which can ultimately contribute to broader societal change. My values are rooted in how I was raised, with progressive parents who emphasized Islam as a philosophy of justice and compassion rather than a rigid ritualistic doctrine. This instilled in me a commitment to speaking up for the oppressed and standing against injustice, values that naturally influence my artistic pursuits and the themes I explore in film.

When starting out, I believe it’s natural to draw from personal experiences as a way to ground your storytelling - something often echoed in the advice to “write what you know.” Even when crafting imaginative stories, everything we create is filtered through our unique lens as individuals. That said, I feel a distinct responsibility as a Pakistani woman to center characters and narratives that reflect my identity and culture. These stories remain underrepresented, and I feel compelled to contribute to this space because if I don’t, who will? At the same time, I recognize the importance of crafting stories that resonate universally and meet the highest standards of filmmaking. I’m interested in the current conversations around representation, especially the balance between celebrating cultural specificity and simply telling great human stories. While I embrace my role in telling authentic Pakistani and female-centered narratives, I’m also at a point where I want to challenge myself. For example, with my feature film, I’m exploring deeply personal themes based on my high school experiences. But as I move forward, I hope to push beyond the boundaries of my own life experiences - whether through genre, scope, or creative ambition. I want to continue honoring my unique perspective while also expanding the range and reach of the stories I tell. I’m excited to see how I can push boundaries and contribute to the craft of filmmaking.
 

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Q6: As a participant in the inaugural Proof of Concept accelerator program, what has the experience been like? 

ME: It’s been an incredible experience so far. I recently shot the proof of concept, and I’m thrilled with how everything is coming together. There’s a strong USC presence in the program, including Coco Francini, an alum and an absolute force. Having that shared USC connection creates a sense of community and shared language, which has been really special. Being selected for this program was such an honor, especially considering how competitive these opportunities are. To have a selection committee that includes industry icons and personal heroes like Greta Gerwig and Lilly Wachowski recognize your work is profoundly validating. It’s a reminder that your story is worth telling, which is something emerging filmmakers don’t always hear.

The program itself is thoughtfully designed. Beyond the generous funding - which is crucial for shooting in a city like LA - it offers access to incredible guest speakers, primarily female filmmakers, who share their experiences and advice. The mentorship and encouragement have been invaluable, not just for navigating the challenges of production but also for honing the story. For me, writing is always the hardest part, and I went through 11 drafts of the proof of concept trying to capture the essence of the feature, each one drastically different. The process of gathering feedback from the program team, my film school peers, my Muslim filmmaker community, and even friends outside the industry really strengthened the script. I love audience testing, and having such a diverse group react to my work has been transformative. Now that we’ve wrapped the shoot, I’m incredibly excited about what we captured. The program is also very intentional about ensuring the proof of concept doesn’t just exist in a vacuum. The final showcase is designed to connect us with the industry and propel the feature film forward, which is incredibly motivating. I’m optimistic about the next steps, and I can’t wait to see where this project leads in the coming months. It’s been such a rewarding journey so far, and I feel like this is just the beginning.

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Q7: We’d love to hear more about your involvement with the Pillars Artist Fellowship! Could you highlight some of your most memorable moments so far?

ME: I’m currently participating in two fellowships simultaneously, which has been a highly enriching experience. One is the Proof of Concept fellowship, and the other is the Pillars Fellowship in partnership with Pillars Fund and Riz Ahmed’s production company, Left Handed. The Pillars fellowship is great, as it offers fellows an unrestricted grant, allowing recipients to allocate the funds as needed, whether for living expenses or project development. This fellowship is deeply focused on community building, networking, and supporting the well-being of muslim filmmakers as they navigate the challenges specific to our community.

The value of the Pillars fellowship has been immeasurable. As someone who views Islam not just as a religion but as a guiding philosophy, I have always been deeply drawn to how the tradition integrates logic and emotion. In my view, Islam doesn’t separate the head and the heart; both are essential in understanding the world. This philosophy resonates with me, especially in a western tradition where creativity is often disconnected from spirituality. Many discussions within Pillars have revolved around this disconnect. I've always felt that creativity stems from something greater, a force that transcends the mind. It’s an idea I’ve always felt intuitively, often in my filmmaking. The Pillars fellowship has allowed me to connect with others who share this belief that creativity and spirituality are deeply interconnected. As muslim filmmakers in the west, it’s hard not to carry the responsibility of not only crafting compelling stories but also using our work to speak out against oppression and injustice. This sense of duty is especially important to me in our post 9/11 America which has profoundly misunderstood muslims. I am also deeply active in the Israel-Palestine conflict. I have close friends whose families in Gaza have been directly impacted, with entire families brutally killed in one day. This personal connection to the ongoing conflict makes it incredibly difficult to reconcile the emotional and intellectual demands of filmmaking with the urgent social issues I care about. Navigating these dual struggles - craft versus career - requires a great deal of inner balance, and having a community that centers these conversations has been invaluable.

The fellowship structure includes sessions in New York, London, and Los Angeles, which have been crucial for building these global connections. Just before shooting my proof of concept, I attended a session in London, and I’m looking forward to the next one in Los Angeles in April. This session will include an industry-facing showcase, and I hope that the Proof of Concept showcase will align around that time. Combining the networks and resources from both fellowships will be incredibly powerful, and I’m excited about the potential to leverage these opportunities to get my feature film made.

Q8: You’re currently developing your debut feature. What has been the most significant obstacle you've faced so far, and how did you overcome it?

ME: Writing has always been the most challenging aspect of my craft. I’ve been developing my debut film since 2019, and it’s evolved significantly over time. Currently, as I work on the proof of concept, I’m rewriting the feature once again. Initially, the story was set in middle school, which required me to dive deeply into the research phase, revisiting old diaries, yearbooks, and social media profiles of friends. While this research was essential, it has sometimes been difficult to live in the present, as I feel like I am living in the past. The emotional weight of revisiting experiences from middle and high school is profound, often leading me to process those memories in ways that can feel like living in two worlds simultaneously. This constant mental back-and-forth can be draining and make it hard to maintain a healthy balance in the present.

From an industry perspective, the landscape has changed significantly since I started this filmmaking journey. As I strive to craft a career where I am continually evolving and working towards my goals, I’ve realized that external factors - such as the pandemic, strikes, streaming shifts, and technological changes like AI - are integral to how films are made and consumed today. As filmmakers, we want our work to resonate with both the evolving business environment and the broader cultural zeitgeist. Balancing these dynamics can be incredibly challenging. One of the most difficult realizations has been the amount of time everything takes. I always heard people at USC talk about how long they’d been working on a project, and I’d think, “That won’t be me. I’ll get there faster.” But the industry is a humbling process. I’ve learned that creating something truly meaningful takes time, time to refine your craft, time to find the right collaborators, and time for the right opportunities to align. I firmly believe that everything happens for a reason, and while the timing may not always make sense in the moment, eventually, it will all come together. Balancing the demands of the industry with personal life is a constant challenge. Writing, directing, networking, and managing financial stability all require a great deal of attention and energy. There’s always something more to do, always another task to complete. For me, the biggest challenge is finding balance amidst the chaos.

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Q9: What advice or guidance would you offer to aspiring female filmmakers and individuals from marginalized communities striving to break into the entertainment industry?

ME: My first piece of advice, particularly for women, would be to avoid any romantic relationship that detracts from your sense of purpose. If your relationship is holding you back or diminishing your potential, it's important to reassess and walk away. Be militant about protecting your gift. It’s also essential to cultivate a healthy, balanced life. Personally, I’ve been on my own journey of understanding what that means for me, whether it’s through therapy, giving up alcohol, or adopting healthier habits. The film industry can be incredibly isolating and demanding. The contrast between the solitary nature of writing and the physically demanding work in production can be jarring. And once you transition into post-production, it often becomes a lonely, screen-focused task again. Then there’s the glamorous festival circuit, which can feel disconnected from the very un-glamorous reality of the filmmaking process. During my last short film's Oscar campaign, I saw how easy it is to get swept away by the industry's vanity aspects. To remain grounded, it’s crucial to have a solid support system, a healthy community, and habits that nourish your soul outside of the industry's transient nature. Maintaining a well-rounded life beyond filmmaking is vital for your well-being. In terms of craft, no matter how much resistance you face as a minority filmmaker, it’s important to embrace it. Resistance is inevitable when your story - and your existence - serve as a challenge to a system that is designed to oppress you to uphold its own power. Let that resistance serve as an invitation to become undeniable in your craft. Strive to be the best filmmaker you can be, and understand that, while education is valuable, you must also create. You’ll learn by doing. The more you make films, the more you learn through experience. When faced with pressure from outside forces or power structures, remember that your vision is paramount. Let external influence in, but always prioritize making the film you want to make. Stay true to your creative voice, no matter the challenges.

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Q10: What's next on the horizon? Any exciting plans or projects in the works?

Currently, I’m in post-production on the proof of concept and excited to complete it by March, which will then allow me to continue rewriting and refining the feature. I aim to ideally secure the funding to make this feature a reality. I’ve also written a number of projects, including a feature titled Queen of Diamonds. It's a diamond heist film about four Desi (South Asian) women attempting to steal back the Koh-i-Noor diamond, set in London. We were just there, and I'm exploring possibilities for this project. 

With the current state of the film industry in the U.S., I'm hopeful that this transitional period will lead to positive changes. However, as the industry here adjusts, I’m eager to challenge myself by creating something abroad. Having made my last film in Pakistan, I saw firsthand how far the dollar stretches and the opportunities that exist in other parts of the world. I want to use this as a chance to shift my focus and write something fresh. Having been so focused on past projects, I’m excited to explore new ideas. As I approach 30, I feel a strong desire to explore themes that are more current to my life and experiences. For instance, I have a concept for a film set in Pakistan that draws inspiration from Under the Tuscan Sun and Past Lives. I’d love to see if I can bring this idea to life. So, my immediate focus is finishing my first feature, but after that, I’m eager to explore new creative challenges and see where they take me.

Watch Eid Mubarak:

Eid Mubarak Short film

Story by Emily Tutnick