When Susan Kerns first joined Milwaukee Film, they were still using VHS tapes. As a graduate student and a programming committee member at what was then called the Milwaukee International Film Festival in 2004, she learned to love the art of hosting a festival: attracting an audience, building a lineup, and of course, watching dozens of phenomenal movies.
Now, after a decade-long career in academia, Kerns is returning to Milwaukee Film – this time leading the nonprofit, which runs the Milwaukee Film Festival and operates the Oriental and Downer theaters, as executive director.
It’s time to pick your Milwaukee favorites for the year!
“I have so many ideas,” she says. “And I want people in the community to know that we value their ideas, too.”
Growing up in Iowa, Kerns was first drawn to acting. “Luckily, I found out fairly quickly that I’m not a good actor,” she says. Instead of a career on the silver screen, she pursued one writing about it, studying journalism in Texas and then earning a Ph.D. from UW-Milwaukee in English and modern studies.
“I kept sort of trying to leave film, and it kept wooing me back,” says Kerns, who has also worked behind the camera producing movies. “It’s where my soul lives.”
After years of volunteering, she became Milwaukee Film’s full-time education director in 2011, staying until 2013 when she accepted a position as a professor of cinema and television arts at Columbia College Chicago.
Three years later, she co-founded the Chicago Feminist Film Festival. When Milwaukee Film executive director Anne Reed announced she was leaving, Kerns applied for the job immediately.
“I love Milwaukee Film,” Kerns says. “I love the work. I love the local filmmaking community. … When I heard about the [executive director] search last fall, I was like, I have to go for this.”
The past year has been turbulent for Milwaukee Film. The organization was in financial straits after the COVID pandemic, and in 2024 founder and executive director Jonathan Jackson resigned and was replaced by Reed, who served for one year before retiring.
During that time, Milwaukee Film downsized staff and cut its youth education and artist mentorship programs as part of a financial restructuring.
“My hope is that people understand that it’s not going to be back to 2019 levels in a month,” Kerns says. “But I can tell from talking to people, from the enthusiasm, that this community is invested in making this work.”
Kerns started in February, with the film festival two months away, and is now getting started planning a sustainable future for the organization.
“I’m aiming for financial stability, absolutely, but I’m also aiming big,” she says. “I want to grow the national reputation of Milwaukee, of Milwaukee Film and Milwaukee filmmakers. … There’s a humbleness to the city, and I want to bring a little more swagger.”
This year’s Milwaukee Film Festival runs April 24-May 8. mkefilm.org. Follow our coverage of this year’s festival at milwaukeemag.com.
1. The Unknown
TOD BROWNING | 1927
This silent film stars Lon Chaney as an armless knife thrower in love with his assistant, Joan Crawford (in her first role), who has a fear of men’s hands. It’s a body horror film before horror films had a formula with a totally bonkers storyline. It’s also the second collaboration between Browning, Chaney, and cinematographer Merritt B. Gerstad, and you can tell they’re having fun.
2. Imitation of Life
DOUGLAS SIRK | 1959
Single moms Annie, a Black woman, and Lora, a white woman, meet by chance and build a life together as Annie cares for their girls while Lora pursues acting. It’s a story of the communities women build, and the inequities of race, that’s stunningly beautiful and devastatingly tragic. Douglas Sirk is one of the great directors, Russell Metty is one of the best cinematographers in the history of the art, and Juanita Moore, Lana Turner, and Sandra Dee are all at the top of their game. Perfection.
3. Daisies
VĚRA CHYTILOVÁ | 1966
A feminist, surrealist, Czech New Wave comedy about two women named Marie who do whatever they want. It’s chaotic and wonderful, and if it’s not the movie you’ve been waiting your whole life to finally discover, you’ll know within about the first 10 minutes.
4. Grey Gardens
ALBERET AND DAVID MAYSLES | 1975
Big Edie and Little Edie are icons, and the Maysles might have the best instincts of any documentary filmmakers. I love these women so much.
5. Eve’s Bayou
KASI LEMMONS | 1997
A haunting southern gothic tale about family and memory gorgeously shot to make you feel the humid discomfort of a Louisiana summer. Debbi Morgan smolders as Mozelle. Her string of dead husbands should be fair warning to her suitors, yet it is completely understandable why they continue lining up. And, little Jurnee Smollett is great!
