NYWIFT Blog

By Tammy Reese

New York Women in Film & Television (NYWIFT) is proud to spotlight member Lois Drabkin, a dynamic force in the world of independent cinema. As the Co-Producer and Casting Director of Ride or Die, premiering at the 2025 Tribeca Festival as part of the prestigious U.S. Narrative Competition, Drabkin continues to champion bold, character-driven storytelling.

With a career spanning acclaimed features such as Nancy, Colewell, and Glass Chin, and casting credits on groundbreaking projects like HBO’s The Wire and Showtime’s Years of Living Dangerously, Lois shares insights into her creative process, the evolution of Ride or Die, and her enduring commitment to supporting women in film.

Congratulations on the world premiere of Ride or Die at Tribeca! How does it feel to have the film included in the U.S. Narrative Competition at such a prestigious festival?

The whole team is thrilled to be premiering at Tribeca Festival, and it’s most especially exciting for me as a New Yorker to launch the project here, at a festival that was brought into being because of the founders’ dedication to film and the arts, even in the face of difficult times.

To be selected for the U.S. Narrative Competition feels like a perfect fit for this film and its creative team, since I always think of the festival as highlighting films that tell unique stories, powerfully written, showcasing a truly independent sensibility.

NYWIFT Member Lois Drabkin (image courtesy of Lois Drabkin)

What initially drew you to Ride or Die as a project, both as a co-producer and casting director?

I’ve worked with producer Matthew Keene Smith before, and he brought the project to me initially to help attach the two lead roles in late 2022. The industry was still dealing with the effects from the pandemic, and he and the writer/director, Josalynn Smith, thought attaching the two leads would give the film a strong foundation to build upon.

Josalynn had previously shot a short film version of the project, and I was immediately impressed with how she revealed the characters to the audience, with just the bare bones of the plotline. It was exciting to think about the journey of these two characters in a feature-length film and how she would craft their performances and their longer story arc.

As we collaborated with the casting, the relationship just naturally evolved to a co-producer level of involvement. Casting is one of the first departments on board a project, so in many ways, casting and producing make a lot of sense.

Without giving too much away, what is Ride or Die about, and what makes it stand out in today’s film landscape?

Ride or Die follows the story of two young women, Paula and Sloane, who went to high school together and reconnect unexpectedly when Paula returns home after college. They are both struggling with home life and their respective next steps, and take off on the road hoping to find the answers together, but ultimately, each must decide how much the past will influence their next momentous choices.

It stands out as a story made by young women about young women at a pivotal moment in their adult lives, bolstered by the powerhouse performances of the two leads.

Still from Ride or Die (Courtesy of Tribeca Festival)

What themes or emotions do you hope audiences walk away with after watching the film?

This story on one level follows a classic coming-of-age genre, which means its strength lies in the two lead characters, whose similarities and differences fuel the tension of the film. These tensions are either eased or ratcheted up as they meet others along their journey, which underscores the difficulty of the choices they must make, both individually and as a pair.

The universal issues of identity, independence, sexism and racism are explored in the details of these characters and their current lives. The film does not judge these women as they must contend with experiences that leave them both asking the age-old questions about who they are and who they want to be, and will it be together… will they ride or die?

Was there a particular challenge or memorable moment in the production or casting process that stuck with you?

As I mentioned, we started working on the project in late 2022, when the industry was still struggling to get back on its feet after the pandemic. We focused on casting the role of ‘Paula’ first, and after putting together an initial short list of ideas, one actress stood out right away. Briana Middleton is someone whom I had auditioned previously, so I knew some of her incredible range, and some of what motivated her when choosing roles. Sure enough, when we got the script to her through her amazing agent, Rhonda Price, she asked to meet Josalynn, and they connected right away.

With Briana attached, we were able to next focus on ‘Sloane’, racing to cast that role to try and get into production before the SAG strike might be announced in Spring 2023. We met with and auditioned fantastic actresses, and Josalynn really connected with Stella Everett, fresh out of Juilliard, so that we then had two compelling, talented actresses on board.

But our timing was off as the SAG strike hit, which meant we could not move ahead with the production. As a long-time champion for independent films, their agent Rhonda Price agreed that we could still consider them attached. Having the support of someone as established and esteemed as Ms. Price was invaluable, allowing the production to have a solid chance to take root and grow.

Still from Ride or Die (Courtesy of Tribeca Festival)

You’ve had an incredible track record casting and producing award-winning independent films. What, in your opinion, makes a great producer and a great casting director?

In my experience, a great producer is someone who has an unshakeable dedication to the project and the director, even when differences of opinion arise, or certain elements change. Films and TV rely on assembling a team of dedicated artists, all of whom contribute to the overall vision, under the guidance of the producer. Making films is a collaborative art, and bringing out the strengths of each team member is both an art and a talent, which great producers facilitate.

Similarly, as a casting director, we bring the talent that the team has requested, the talent that they may be expecting, and the talent that we think they should also consider. Each project is different, and each director works in a different way, so while creatively it is very important to be on the same page, it’s equally important to stay open to other options that could be considered, as things sometimes shift, especially when other cast come on board, or as other aspects of the production evolve.

What are you currently working on, and are there any upcoming projects we should be excited about?

I have a feature film currently shooting upstate for a director I’ve worked with before, but it hasn’t been announced yet.

I also have two other projects that are gearing up — one is the next feature for artist/activist Vincent Gagliostro, and we’re looking to attach the other lead role in a road trip film that is exploring the past and present landscape of gay life in America.

The other project is a limited series focused on the issue of climate change. This is a narrative series created by a climate scientist whose research shows that audiences are more engaged and likely to get involved if the production offers something positive, and doesn’t only hammer down the negatives of climate change. This is an independent production that has received financing from non-profit foundations, which is an inspiring new path for independents to explore.

Still from Ride or Die (Courtesy of Tribeca Festival)

What inspired you to become a member of New York Women in Film & Television (NYWIFT), and how has it shaped or supported your career?

As a woman working in different areas of the industry — as casting director, producer, sometimes actress, and now as a first-time screenwriter — and as a long-time supporter of the arts and artists, joining the membership of NYWIFT was a natural next step in being a proactive member of the larger community.

Their dedication to uniting and supporting women in the industry is such a meaningful contribution to not only the community, but our larger society, which grows and flourishes along with all of the different and unique artists who are creating and contributing to the world.

What advice would you give to women — especially emerging filmmakers and casting professionals — who hope to follow a similar path in the industry?

The great thing I can say is that there is not just one path to follow in this industry. My work experience started in academics, and I taught Communication Studies and Media Studies at universities in my 20s. Then, I decided I wanted hands-on experience in the industry instead, and I gained experience working for a theatre company, for a talent agency, and then for different casting directors.

My best advice is to try different positions and ask questions of colleagues, to get a better feel for what you feel most connected to. In a creative, artistic industry, there’s always a new opportunity to become involved in, as long as you keep open to it.

Follow Lois Drabkin on Instagram at @loisdrabkin at for updates about her projects.

Learn more about Ride or Die at Tribeca: https://www.tribecafilm.com/films/ride-or-die-2025

And be sure to check out the other NYWIFT Members at the 2025 Tribeca Festival! 

Lois Drabkin is a NY-based Casting Director and Producer whose work covers a wide range, notably in independent features and shorts that have premiered at prestigious festivals, including Independent Spirit Award acting-nominated features NANCY (J. Smith-Cameron), COLEWELL (Karen Allen) and GLASS CHIN (Marin Ireland), and films for first-time feature directors such as NIGHT CATCHES US (Sundance), RESTLESS CITY (Sundance), WEAKNESS (Austin), THE RANGER (SXSW), and the upcoming RIDE OR DIE (Tribeca).

Other credits include the Emmy-winning first season of Showtime’s climate change documentary series, YEARS OF LIVING DANGEROUSLY, and on the casting teams for Steven Spielberg’s WAR OF THE WORLDS, the acclaimed HBO Series THE WIRE, and Michael Mann’s PUBLIC ENEMIES. For Guggenheim Museum, she cast NY actors for taped guides, including Bobby Cannavale, Maggie Gyllenhaal, Jeremy Pope, BD Wong and Marilee Talkington. A member of the Casting Society, Lois has been nominated for multiple Artios Awards for Outstanding Casting.