Fronza Woods

In an essay titled "40 Years and 19,979,520 Feet From Stardom or, The Perils of Being (Re)Discovered…” published online in June 2021, Woods humorously reflects on her time as a filmmaker and the late recognition of her work: "When I was a confused, ambitious, younger woman embarking on my filmmaking career, I went to a psychic who I was hoping would tell me “one day you’re going to be a famous filmmaker.” Alas, there was no mention of filmmaking, let alone fame, I had to content myself with “yours will not be just any old name in the phone book.” At the time I was disappointed, not to say terribly disappointed with his lackluster prediction. As it turns out, he was right, and now I'm thinking this late recognition is good enough for me. 19,979,520 feet from stardom is not such a bad place to be."

In 2019, Killing Time and Fannie's Film were screened at a film festival of the Institut Jean Vigo at the Cinémathèque de Perpignan in France. That same year, both films were featured at the Courtisane Film Festival in Ghent, Belgium as part of the series "Breaking Sacred Ground: African-American Independent Filmmaking on the US East Coast, 1967-1989. In November 2019, Woods' films were featured during the 41st edition of the Festival des 3 Continents in Nantes, France. In June, 2021, Killing Time and Fannie’s Film were screened by Royal Cine Cineclube in Lisbon, Portugal.

Woods is one of the first black woman directors that completed multiple short films. In 2017, BAM Cinematheque in New York City included both Killing Time and Fannie’s Film in a new season. This proved to be the start of a contemporary "re-discovery" of Wood's work. Woods describes receiving the news in 2017 that her films were to be featured, nearly thirty-five years after they were produced: "It was very strange, not to say a bit destabilizing. Suddenly... I was catapulted forward, backward and sideways in time. I was an artist, and I use that word loosely, who had never really been discovered — I’m speaking solely of critics and the media, the people who have the power to make or break one’s career — yet was now being re-discovered."

Woods attended NYU film school until she left to became a teacher. She moved to Milwaukee where she taught filmmaking at the University of Milwaukee. After meeting her husband she immigrated to France in 1987.

In addition to making her own films, Woods was an assistant sound engineer for John Sayles's film The Brother From Another Planet. She was also involved as a cast member in the 1985 film, The Man Who Envied Women. Of her role in the film industry, Woods said "I think the male-female divisions are more defining". Woods said that she was influenced by people as diverse as Bill Moyers, Malcolm X, Georgia O'Keeffe and others.

Fannie's Film is a 1981 documentary short that follows 65-year old Fannie Drayton, a cleaning woman. The film is told from the perspective of Drayton and is 15 minutes in duration. Hugues Perrot writes: "In parallel with the hieratic figures that come and go on the sports machines, she is filmed alone cleaning the studio emptied of its ghosts. The film upends paradigms, plunging the visible world into a bare space and giving body to an inaudible voice – a voice that is especially moving as it recounts the joyfulness of the life it has led." Fannie's Film was selected for the 1985 Créteil International Women's Film Festival. Woods comments: “I like films about real people. I am inspired by almost everything but especially by struggle. I am interested in people who take on a challenge, no matter how great or small, and come to terms with it. What inspires me are people who don’t sit on life’s rump but have the courage, energy, and audacity not only to grab it by the horns, but to steer it as well.”

Fronza Woods is an American filmmaker best known for her short films including Killing Time (1979) and Fannie's Film (1982).

Killing Time is a 1979 narrative short film written and directed by Fronza Woods. The film is a dark comedy that follows a woman (played by Woods but credited with the stage name "Sage Brush") as she prepares to commit suicide. The duration of the film is 9 minutes. Richard Brody called Killing Time "very simply, one of the best short films that I’ve ever seen." In response, Woods reflected: "The most beautiful, thoughtful, understanding and generous analysis being Richard Brody’s review of the series in his The Front Row column for the New Yorker. I was touched and stunned that he was able to empathize so deeply with the plight of black women filmmakers of that era." Hugues Perrot describes the film: "...a bitter and insolent ballad, shows the casual disarray of a woman, alone in her room, searching for the appropriate attire for her suicide. In a jaunty rather than joyful tone (her artificially cheerful whistling), the film ends up hypnotising us, humour acting less as a safety valve than as a corollary of despair." Woods says of the film: "I would have a protagonist whose inability to decide what to wear in order to kill herself would ultimately save her life. It was never a film about suicide. It’s a film about what you think will happen if you kill yourself. I don’t want to make light of suicide, it’s not a light matter."

Woods was born in Detroit. She attended Wayne State University in Detroit, Michigan and graduated with a BA in Mass Communications and Russian. She began her career as a junior copywriter at a small Detroit advertising agency. In 1967, she relocated to New York City where she started working in television at ABC as a production assistant in the documentary unit. She also taught Pilates for a number of years at the Robert Fitzgerald Studio in Manhattan.