Virginia Kay(I)
- Producer
- Production Manager
- Second Unit Director or Assistant Director
Virginia Kay is a producer with over twenty years experience in Australia and the US.
Virginia produced narrative feature films Acute Misfortune (2019), Sugar Mountain (USA, 2016), The Lookalike (USA, 2014), Blinder (2013) and Mine Games (USA, 2012). Virginia line-produced Hail (2011), Summer Coda (2010), and Crawlspace (2012).
Acute Misfortune (2019), was funded by Screen Australia, Film Victoria, and Create NSW, with director Thomas M Wright, producer Jamie Houge, and executive producers Robert Connolly and Liz Kearney of Arena Media. It was awarded the The Age Critics Choice Award (MIFF, 2018), The Guardian's Top Ten Films of the Decade and The Guardian's Top Ten Films of 2019.
Virginia has experience across a diverse range of media, from web design to XR, feature film production, video art and multi-platform.
Kay was Executive Producer on immersive VR and dome/planetarium exhibition Carriberrie (MIFF 2018) by Dominic Allen and narrated by David Gulpilil, which follows a journey of Indigenous song and dance. Her focus was development, distribution, and finance.
Kay was executive producer on feature Ema Nudar Umanu from Timor-Leste collective Malkriadu Cinema. Her role was to facilitate an international premiere at MIFF 2018 through a Film Victoria marketing grant, and to support the attendance of filmmakers through an ACF crowdfunding campaign.
Virginia also executive produced artist Eugenia Lim's cinematic video installation The Australian Ugliness, paying homage to modernist architect Robin Boyd while exploring the ethics and aesthetics of our nation today. The work was a keynote of the 2018 Open House Melbourne program, and brings a female, performative, and Asian-Australian perspective to the screens and spaces of Australia.
Virginia was lead creative and technical producer of the CVF Virtual Climate Summit 2018, a 24-hr live-streamed virtual summit on climate change for CAN International, and the Marshall Islands. She designed and produced the Zoom-based event, which included over fifty official statements from heads of government, thirteen international live-streamed panels hosted by climate change specialists, live presidential broadcasts, and the curation of over 2 hours of international short films.
The Westbury Faery, a multidisciplinary online Alternate Reality Game for young adults was funded by Screen Australia and Canada Media Fund through the special initiative 'Canada-Australia Interactive Digital Media Incentive', with additional filming support through Film Victoria. It won the international Shorty Award for Best Use of Augmented Reality in 2017, and runner up for Best Use of Emerging Technologies.
Kay founded Melbourne-based Plot Media and US-based Yellow Brick Films.
Virginia has produced and delivered projects with development and production support from Screen Australia, Film Victoria, Create NSW, including regional funds. Internationally, she has worked with agencies like the Canada Media Fund (a co-pro with Screen Australia), the Louisiana Economic Development Fund, the Alaska Film Commission, and Washington Filmworks.
Virginia produced narrative feature films Acute Misfortune (2019), Sugar Mountain (USA, 2016), The Lookalike (USA, 2014), Blinder (2013) and Mine Games (USA, 2012). Virginia line-produced Hail (2011), Summer Coda (2010), and Crawlspace (2012).
Acute Misfortune (2019), was funded by Screen Australia, Film Victoria, and Create NSW, with director Thomas M Wright, producer Jamie Houge, and executive producers Robert Connolly and Liz Kearney of Arena Media. It was awarded the The Age Critics Choice Award (MIFF, 2018), The Guardian's Top Ten Films of the Decade and The Guardian's Top Ten Films of 2019.
Virginia has experience across a diverse range of media, from web design to XR, feature film production, video art and multi-platform.
Kay was Executive Producer on immersive VR and dome/planetarium exhibition Carriberrie (MIFF 2018) by Dominic Allen and narrated by David Gulpilil, which follows a journey of Indigenous song and dance. Her focus was development, distribution, and finance.
Kay was executive producer on feature Ema Nudar Umanu from Timor-Leste collective Malkriadu Cinema. Her role was to facilitate an international premiere at MIFF 2018 through a Film Victoria marketing grant, and to support the attendance of filmmakers through an ACF crowdfunding campaign.
Virginia also executive produced artist Eugenia Lim's cinematic video installation The Australian Ugliness, paying homage to modernist architect Robin Boyd while exploring the ethics and aesthetics of our nation today. The work was a keynote of the 2018 Open House Melbourne program, and brings a female, performative, and Asian-Australian perspective to the screens and spaces of Australia.
Virginia was lead creative and technical producer of the CVF Virtual Climate Summit 2018, a 24-hr live-streamed virtual summit on climate change for CAN International, and the Marshall Islands. She designed and produced the Zoom-based event, which included over fifty official statements from heads of government, thirteen international live-streamed panels hosted by climate change specialists, live presidential broadcasts, and the curation of over 2 hours of international short films.
The Westbury Faery, a multidisciplinary online Alternate Reality Game for young adults was funded by Screen Australia and Canada Media Fund through the special initiative 'Canada-Australia Interactive Digital Media Incentive', with additional filming support through Film Victoria. It won the international Shorty Award for Best Use of Augmented Reality in 2017, and runner up for Best Use of Emerging Technologies.
Kay founded Melbourne-based Plot Media and US-based Yellow Brick Films.
Virginia has produced and delivered projects with development and production support from Screen Australia, Film Victoria, Create NSW, including regional funds. Internationally, she has worked with agencies like the Canada Media Fund (a co-pro with Screen Australia), the Louisiana Economic Development Fund, the Alaska Film Commission, and Washington Filmworks.
