Marilyn Agrelo’s directorial debut, “Mad Hot Ballroom,” enjoyed a theatrical run of 24 weeks and became the 25th highest-grossing documentary film. A Broadway version is currently in pre-production. Agrelo’s feature film, “An Invisible Sign,” was released by IFC Films. Her television work includes episodes of “The Electric Company” and “Sesame Street.” Agrelo’s work has screened in major festivals and on HBO, Showtime, and PBS.

“Street Gang: How We Got to Sesame Street” is screening at the 2021 Sundance Film Festival, which is taking place online and in person via Satellite Screens January 28-February 3.

W&H: Describe the film for us in your own words.

MA: This documentary tells the story of the visionary artists, writers, performers, and educators who created “Sesame Street.”

W&H: What drew you to this story?

MA: It felt like the type of story that would seem to be about one thing on the surface — that is, how this TV show was made — but would actually be about something much deeper and surprising. In fact, the more and more I read about the origins of “Sesame Street,” the more I was blown away by what a cultural revolution it was. How political it was. How groundbreaking. The fact that this was unleashed on the world in the form of a preschool program was amazing and irresistible to me.

W&H: What do you want people to think about after they watch the film?

MA: The civil rights movement and all the unrest, protests, and awakening that occurred in the late 1960s gave birth to “Sesame Street.” Many of these same fights are being fought today. The story of the birth of “Sesame Street” is incredibly relevant at this moment in time. And art can change our world just as powerfully today.

W&H: What was the biggest challenge in making the film?

MA: There were several challenges. Many of the main characters had died. I wanted to do a very personal, under-the-surface exploration of these people. I had to piece a lot of that together without the benefit of interviews in many cases. Also, there was a lot of archival pieces involved — not just “Sesame Street” show material, that was easy. We had to hunt, beg, and wait for some very obscure, very special old footage. It can be maddening to hunt down this stuff, but so gratifying to actually get it.

An excellent archival producer is indispensable in making a movie like this. Luckily, we had one.

W&H: How did you get your film funded? Share some insights into how you got the film made.

MA: I was not involved in raising the money for this film. Trevor Crafts, the executive producer who optioned the book that inspired this film, raised all the money. He did it through various sources and over a long period of time. I know it was not easy.

W&H: What inspired you to become a filmmaker?

MA: In my 20s, I worked for a non-profit organization that travelled the world. My job was to work with international news crews that were covering our work. I became very interested in storytelling, and how the camera can be used to literally change the world. After that, I took some film courses and started getting work assisting producers and working at various production companies doing commercials and industrials.

My first opportunity to express myself with a film came in the form of my documentary “Mad Hot Ballroom, which was brought to me by my friend and collaborator Amy Sewell. That was a life-changing experience.

W&H: What’s the best and worst advice you’ve received?

MA: The best advice came from my friend Louis, a fellow Cuban. Whenever I would express any doubts about moving forward with something, he would say “Tirate!” which roughly translates into “Throw yourself!”

The worst advice is “Don’t make waves.”

W&H: What advice do you have for other women directors?

MA: I once read an article about Francis Ford Coppola in which he said something to the effect of “Why should I be afraid? What is there to be afraid of?” Initially, I was put off because it sounded like something only an entitled white male would say. But I have actually channeled this thought when I’ve needed to get through something that felt over my head.

My advice to other women directors is to walk in like you own the room.

W&H: Name your favorite woman-directed film and why.

MA: This is almost impossible for me to answer. It would be much easier to create a list of my favorites. I love so many films directed by women, it’s difficult to single one out. I adore Agnès Varda’s work. Her observations of humanity are brilliant, and her work is so timeless. If I had to choose my favorite of her films, it would probably be “Cléo from 5 to 7.”

Everything by Jane Campion is amazing. Her wildly original view of the world had a huge impact on my appreciation of films. I think she just might be the most unique voice in cinema. My favorite of hers is probably “An Angel at My Table.”

I love the emerging voices from countries where women have the hardest existence: “Wadjda” by Haifaa al-Mansour; “A Girl Walks Home Alone at Night” by Ana Lily Amirpour; “Capernaum” by Nadine Labaki.

Mostly, I wish this question wasn’t asked of women directors. The day we stop focusing so much on gender will be a better day for all.

W&H: How are you adjusting to life during the COVID-19 pandemic? Are you keeping creative, and if so, how? 

MA: I’ve actually made a big effort to watch a lot of movies — and series — that look interesting. I have also had the luxury of time and solitude to research topics that I’d like to develop for future projects.

I’ve also been experimenting in the kitchen and expanding my cooking skills. I live in New York where the impulse is always to go out. It’s been very interesting not to have that. Surprisingly, it’s been feeding my soul.

W&H: The film industry has a long history of underrepresenting people of color onscreen and behind the scenes and reinforcing — and creating — negative stereotypes. What actions do you think need to be taken to make Hollywood and/or the doc world more inclusive?

MA: I do think awareness of this issue is growing, and that helps. I remember when films about women were not considered money makers, and that seems the hot item now. I see more and more interesting work made about both women and people of color. The problem is most acute behind the scenes — and behind the camera.

As consumers, we have to support the work of people of color and women. We have to demand it.

Change is happening, just not fast enough.