[1] She attended Wayne State University in Detroit, Michigan and graduated with a BA in Mass Communications and Russian.

[2] Before making her own films, Woods worked on shorts at the Women's Interart Center in Hell's Kitchen,[5] with the support of Ellen Hovde and Muffie Meyer.

[11] 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.

"[13] 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.

"[14] 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.

"[15] 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.

Meditating on themes such as vanity, ego, self-pity, self-importance, and, as counter-intuitive as it may seem, the life-saving effects of indecision, Woods's film sought to employ humor not as a means of trivializing the subject of suicidal ideation, but, instead, as a way of humanizing it.

[18][19] 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.

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.

"[22] With Fannie's Film, Woods' saw the short as an opportunity to filmically express her own anger about inequality and "benign" racism.

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 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.

[30][31][32] In June, 2021, Killing Time and Fannie’s Film were screened by Royal Cine Cineclube in Lisbon, Portugal.