Screened as part of NZIFF 2016

Equity 2016

Directed by Meera Menon

Written, produced and directed by women and with women in all the key roles, this smart and entertaining film about an ambitious investment banker (Anna Gunn) puts a feminist twist on the Wall Street thriller.

USA In English
100 minutes DCP

Director

Producers

Alysia Reiner
,
Sarah Megan Thomas

Screenplay

Amy Fox

Photography

Eric Lin

Editor

Andrew Hafitz

Production designer

Diane Lederman

Costume designer

Teresa Binder

Music

Alexis Marsh
,
Samuel Jones

With

Anna Gunn (Naomi Bishop)
,
James Purefoy (Michael Connor)
,
Sarah Megan Thomas (Erin Manning)
,
Alysia Reiner (Samantha Ryan)
,
Samuel Roukin (Ed)
,
Craig Bierko (Benji Ackers)
,
Nate Corddry (Cory)
,
Nick Gehlfuss (Gabe)
,
Carrie Preston (Compliance Officer Abby)

Festivals

Sundance
,
Tribeca 2016

Elsewhere

“Anna Gunn (Breaking Bad) dons power suits to star in a female-centric thriller set on Wall Street… Equity is a smart thriller set in the corporate world that disguises its modest budget with an intelligent script and a good set of hooks. Promoting itself as ‘the first female-driven Wall Street movie’, the film’s plot revolves mostly around female characters, while it’s also been directed (by Meera Menon), written (by Amy Fox) and produced (by co-stars Alysia Reiner and Sarah Megan Thomas) by women. And yet, perhaps the most winning thing about Equity is that it’s not some kind of worthy empowerment drama about sisters doing it for themselves.

Instead, although sexism in the workplace is definitely addressed, it plays more like an old-school noir with the sexes casually reversed, featuring a deeply flawed protagonist (Gunn), a seductive but duplicitous homme fatale (James Purefoy) and others navigating their way through a miasma of an ethically shady urban world.” — Leslie Felperin, Hollywood Reporter

“I don’t know squat about IPOs, but I do know a juicy morality play when I see it, and Equity takes us inside modern Wall Street in a unique and gripping manner. — Jordan Hoffman, The Guardian