(orchestral music) - These are the stories that move us.

The stories that guide us and the stories that reflect our community.

Filmed in our neighborhoods and local haunts by those who call this city home.

Atlanta filmmakers are documenting stories that show the life of our city in a way we could only imagine.

These are the stories that we tell.

This is "Atlanta On Film."

(orchestral music continues) Hi, I'm your host, Jono Mitchell, and this is "Atlanta On Film," WABE's weekly film series featuring a collection of stories that reflect our diverse community.

This episode has an array of amazing films that deal with complex family issues, whether that's how to honor one's legacy after their passing in "Over My Dead Body," by director Quinlan Orear, or tackling tensions that build between estranged family members in Timothy Hall's feature film, "Landlocked."

The films you will see in this episode will provide you with a unique perspective into the issues that some members of the LGBTQ community face.

Before we dive into these exceptional films, and hear from the filmmakers that created these works of art, we begin our discussion on queer cinema by honoring our partners, Out On Film.

This historic institution was instrumental in curating tonight's programming.

(film reel clicking) (beeping) - I think when Out On Film was starting, (quirky music) I think you would just, I'm not even, they didn't even do it in a theater.

(chuckles) I mean, this was just like video in a space.

(indistinct crosstalk) I mean, so it wasn't even in a theater.

I mean, it was very much an underground kind of function.

- [Jono] Out On Film is an institution of queer cinema in the South.

It is a place that informs, entertains, educates and enriches queer culture by showcasing films by, for, and about the LGBTQ community and its allies.

- Out On Film started in 1987 by a group of Atlanta community activists, chiefly among those, Rebecca Ranson.

These activists really just started small.

They'd have two or three screenings a weekend.

They would show films that would not otherwise come to Atlanta and they built from there.

And then we took over in 2008.

What's happened over the years is that it's just grown so much.

It's become a national force.

It used to be a weekend festival and it became a seven day festival, an eight day festival.

Right now it's an 11 day film festival with four venues and we just continue to grow.

- When you flash forward (calming music) over 35 years, you go from these kind of, not even quite clandestine, but just whatever you could find to be able to produce something, to the fact that we are now in four venues that are movie theaters and theaters and we can celebrate with parties and functions in public spaces.

I think it's just been that kind of an evolution that we've seen.

We became an Oscar qualifying festival, which is very important for queer filmmakers to have that access or that avenue into a system where otherwise it is very, very difficult to get that kind of recognition.

When you can see yourself positively portrayed on screen or in any other kind of art form where you can connect and you can think, "I am not the only one and my struggle is not the only struggle," and I think for queer people to be able to experience stories and to tell stories from our perspective, which is very different in the way that we see and experience the world, I think remains vital for a vibrant community, for a sustainable community, and for those people out there who are siloed or isolated in a community, it can be a lifeline.

- As a kid growing up, it was hard to find films that I could relate to, and I feel like this festival definitely does that.

- I think there's a lot of collaboration.

One filmmaker may work on another filmmaker's film and then vice versa.

They just all come together to pull something off.

- I mean, with Atlanta being a gay mecca, I think Out On Film, and kind of a film hub, I think Out On Film embodies kind of great both elements and dualities of that.

- Out On Film does so much to connect me to Atlanta.

Queer culture is such a big part of Atlanta that we sometimes forget.

Everyone loves saying, "Oh, we're in the South.

We're in the South."

Okay, but queer South culture is so strong and vibrant and Out On Film gives us the chance to embody and embrace that.

- Also, I think that the Atlanta film community is very unique, for me there's just a huge tapestry of unique filmmakers here.

- And I think part of the uniqueness is that queer culture in Atlanta is really a thing.

I mean, I think we have our own identity as a culture in the south and in Atlanta and I think so many of our local filmmakers capture those cultural activities and moments and experiences in a way that I think makes them unique in this industry.

- When you see an LGBTQ film that has LGBTQ director and an LGBTQ writer and actors and actresses and prop hands, and just all sorts of people, you can just sort of, you know it when you see it.

- With 35 years of screen time to their cause, Out On Film is truly a one-of-a-kind film festival and they have fostered quality work by some of Atlanta's brightest creators.

- To me, putting together Out On Film is a huge responsibility because I do this for the community.

Thinking that Out On Film is 35 years old is just amazing because I know so many film festivals that have disbanded or have gone smaller, and I'm proud of the fact that we've never gone smaller.

Every year we've grown, even during covid, when a lot of people didn't produce, we basically said, "We can't do a physical festival so we have to learn how to do virtual," and we really jammed on giving a virtual festival, learning the logistics, making it happen.

And I like the fact that we always grow, we're always looking to expand and do more.

I'm very proud of that.

It's hard to believe we've been 35 years old.

- For me, 35 years means just how strong we are as a community, that we can create and sustain something over time this way.

And to play a part in that, for me, it's an honor to be able to serve the community in that way.

I think for the future, we have people involved with the festival right now who I think are the next generation of this festival and the next generation of filmmakers.

It's really a proud moment to know that we've come this far in 35 years and we are set for a future that I'm very, very excited to see what they will do with it.

- Out On Film does so much to bring attention to queer filmmakers making films about universal subjects through a queer lens, even death and grief.

After death our loved ones are tasked with laying the deceased to rest and have a responsibility to make sure we're remembered as we were when we were alive, but it isn't always so simple.

In "Over My Dead Body," director Quinlan Orear explores the nuances of how who we were in life may not be what's left behind in our wake.

Here's "Over My Dead Body."

(film reel clicking) (beeping) (traffic noises) (door thudding) - Hi.

- Hi.

I'm here from Michael Hartwell.

- You are on the early side, I'm afraid.

- Yeah no, I'll be real quick.

- [Funeral Director] Could you come back in an hour?

- It's just, I have work- - Did the family invite you?

The family has asked for privacy.

- I doubt they'd mind.

- It's not up to me.

- He would want me here.

Does that mean anything?

- I'm sorry, sir.

- Yeah, you are sorry.

This whole place is sorry.

You might wanna find yourself a broom and dust up this porch.

- Please lower your voice.

- Have a blessed day.

(door thudding) (upbeat music) (purse thudding) (Jackee thudding) (flower holder scraping) (Jackee sighing) (Jackee gasping) (Jackee crying) (paper crinkling) "Michael Hartwell of Magnolia Heights passed away Saturday at the age of 51."

51?

"He's known by loved ones and neighbors for his good heart and quiet, reserved manner."

You know, I read this shit and thought, "Thank God, they got the wrong Michael Hartwell someplace, toes up."

Quiet.

He is survived by his banshee mother, bitch ex-wife, and a daughter who barely knew he was alive.

I ain't seen you in a tie since... Have I seen you in a tie?

Cecelia's wedding.

Had to budget up for little Cece.

You were handsome though.

But that ain't what we going for today, huh?

How did you even convince me to go to that?

Better believe I put the plus in plus one, that's for sure.

Snatched that bouquet right out of the air.

I'm two feet taller than those twig bridesmaids of hers.

Girl, that was four years ago already.

Where does it go?

Here she comes.

You know, you the second mama I had to let the rest.

(make up case clattering) Remember this?

I told you I'd give it back.

(floor squeaking) - I wrote it.

- What?

- The obituary.

My family wanted something simple.

- Well, I don't know who it was for.

Did you even know your father?

- No.

Do you know why he did it?

(casket lid thudding) - [Jackee] I wish we both knew him the way each other did.

- I saw you two perform once a couple years ago.

Sat way in the back.

He never knew.

- Tell me it wasn't during his Madonna phase.

- No idea.

- Never mind.

Were we good?

- It was different, but nice.

- Honey, nice is not a compliment.

- It was nice seeing him happy.

(paper rustling) - It's addressed to, my girls, which is us, I guess.

There aren't the answers you're looking for in there.

There's one thing he made quite clear.

(door rattling) - Hello?

Is somebody in here?

Cece, open the door.

- Sorry, I must have locked the door by the accident.

I'll be right there.

Sorry, I don't know how that happened.

- [Funeral Director] Oh yes well, your family called and they got caught up in traffic and they'll be here any minute.

- Okay, thank you.

- [Funeral Director] Your family seems very nice.

I'm sure your father was a good man.

Best not to look.

We didn't do anything special.

It's better to remember him as he was.

(melancholy music) (car door slamming) - So my name is Quinlan Orear and the name of my film is "Over My Dead Body."

"Over My Dead Body" is a film about a drag queen who sneaks into a funeral home to pay last respects to her drag mother who's being buried as a man against their dying wishes, and in some ways it's comedic, and in many ways it's tragic.

The way that we started, and I say we, because my husband and I really made the film together, the plot of the film, the story and the name, were really his brainchild.

He brought them to me because he was very interested in this theme of not having any control over how you are remembered when you pass.

That's up to the people that are left behind.

I also was interested in this theme, but I have sort of a personal history with death from a young age.

Several family members of mine died and I have distinct memories of my other family members debating things like music and what people should say at the funeral.

And I always thought that that was such an interesting conundrum that we're all eventually going to face, the fact that, in the wake of our passing, we really don't have any control over our own memorial.

So the film is really an introspection on that.

My husband brought me the original idea but there was no biological daughter character.

And for me it was a hard film to write.

I kept trying to write it and couldn't really find my footing.

It felt like I was writing a film that I'd seen before.

And every time I feel like I'm writing a film that I've seen before I kind of lose interest.

It wasn't until I thought of this character, and the character of the deceased, and the iceberg of a life that they'd had prior to their death that really kind of opened my eyes to not just the way that we're remembered when we die, but the way that we know people differently from one person to another.

What really got me excited about this film was this idea that someone can enter a victim and then be humbled into realizing that it is the way that they carry on the memory of the deceased as a living monument, which is the best way to commemorate that person.

And so these two characters finding common ground in their mutual understanding of this person, neither of which knowing the person the same way the other did, is what really got me interested about it.

So our lead character, Jackee the drag queen, she knows her mentor in a very different way than our deceased's daughter, biological daughter knows him, and I was really interested in exploring the idea that identity is not something that is singular.

That identity actually is a bit amorphous and can change based on the people who are remembering you.

Going on in the head space of the family of our deceased, I've always written this as a family that didn't quite understand why he chose to do what he did.

Michael Hartwell, is his name.

Michael came out late and he started doing drag as an expression late in life, and he had created a family.

He was a son, he was a father, he was a husband, he was all of these things before he was recognized externally as queer, before he found the ability or courage to express himself in drag.

And so the family left behind, what they feel as though their husband, their father, their son, has in some ways been taken from them.

And I think that's the story of a lot of queer people, is the fear of coming out is rooted in this idea as though my past identity is going to be threatening to my new identity.

In many ways, the film tackles this idea also of, what is the purpose of a funeral?

Is a funeral a true commemoration of the person who has passed?

Or is it a coping mechanism for those who have been left behind?

And if it's the latter, and they hold the cards, then that's always what I imagined going through their head.

Now I wrote it with the very clear intention that our character, Cece, his biological daughter, would come to terms, would find her closure, would find her understanding with her doppelgänger that she never thought that she would be able to find common ground with.

(orchestral music) - I wrote it.

- What?

- The obituary, my family wanted something simple.

- Well, I don't know who it was for.

Did you even know your father?

- No.

- This idea of making relatable the gay community, the queer community, imbuing them with human emotions which are universal.

I think a lot of times people think of queer cinema and they think of camp, or they think of oppressive violence, or they think of disease.

I think they, a lot of times, issues and queer cinema are, rightfully so, interchangeable.

For me, the films that I make, one thing I like that is usually a byproduct of them, is they're about universal human experiences and emotions that then, more heteronormative audience members, can actually more relate to and I like that because I like to think that if my films do anything when they're watched, perhaps straight audience members, who otherwise would not seek out gay content, are perhaps more likely to seek out gay content.

"Over My Dead Body," to me, is about a person whose pride gives way to the joy of being a living monument for a person that they loved.

It's about this idea that we can't control when or how people die.

When we die, we can't control how we are remembered.

But we can control how we choose to embody that person and that person's spirit after they're gone, and that to me is what I like most about the film.

(beeping) (film reel clicking) - Familial wounds can take many forms, and figuring out how to mend them can be a daunting task.

In Timothy Hall's feature film "Landlocked," we witness how deeply rooted childhood pain can be.

Even when an attempt at reconciliation is made.

Here's "Landlocked."

(film rolling) (beeping) (soft music) (soft music) (knocking) - [Ray] We're gonna head out.

- Hey, thanks for coming.

Sorry, I just need to get away for a minute.

- [Ray] I understand.

Your mom would've been very pleased with the service.

- Thanks.

- [Ray] It will get better.

Hey, let me know when the grand opening is.

I'll be there.

- Okay.

Ray, Um...?

Do you know how I can get in touch with my father?

(soft music) (soft music) - Hey, Ben.

I stopped by to see the progress, and, I don't know what to say.

Ben, it's Nick.

I stopped by to see the progress, and I don't know what the to say, man.

I'm opening in March and I kind of need you to call me.

(soft music) (grunts) (soft music) (soft music) - Good morning.

(groans) Good morning.

Can I get a kiss?

- Yeah.

- Yeah?

Will you gimme a kiss?

- Yeah.

- There's eggs over here if you want 'em.

- Yeah, sure, that sounds good.

- I know you're being pushed in a bunch of different directions right now, and I know you've got a lot on your plate with the restaurant and you're stretched really thin and you're hurting, and I want you to know I love you.

You're grieving.

And I'm not trying to push you, I promise.

I mean, when my mom died, I was a wreck for months.

It takes time, but you can't keep using the restaurant as an excuse to avoid everything else in your life.

You're never here anymore.

And even when you are here, you're not here.

I need you, Nick.

Davis needs you.

I know the restaurant is important, I do.

You can't run there every time things just start- - I know, I know.

And I'm sorry.

- I gotta go get ready.

- Any restaurant can serve a meal.

Any restaurant can serve you the calories you need to survive for another day.

What we want is to serve memories and experiences.

Look, these are your mom's recipes.

These are your grandmother's recipes.

Thoughtfully designed, of course.

Elegant, simple, well executed.

And I'm not talking about being overly refined or pretentious because at the end of the day, I don't think food is supposed to be serious or stuffy.

It's supposed to be enjoyed.

Food just tastes better when it's made with love, right?

When it creates a connection with the person sitting across the table.

And that's what we're gonna do here.

Every Tuesday through Sunday, meals made for people and by people who love food.

What do you say?

- Honestly?

This won't sell in Smyrna.

- Okay.

- Thanks for your time.

- Thank you.

- [Man On Phone] Five or six days away.

- No, no, no.

Yeah, that's what you said two weeks ago.

- [Man On Phone] No.

- Well, you said it.

- [Man On Phone] No, we didn't, Nick.

We didn't, we agreed upon- - Look, man, I can't do it by myself, right?

Like, I literally physically can't do it.

- [Man On Phone] You know, it's not exactly my problem.

- I just want you to show up when you say you're gonna show up.

- [Man On Phone] Nick, we have showed up every single time that you have asked us to come, and we finished our job.

- I'm sorry, so what am I paying you for?

- [Man On Phone] You paid exactly what we agreed upon.

- [Nick] I cannot believe you saying this to me right now.

- [Man On Phone] Weeks ago.

- [Nick] That's just not true.

- [Man On Phone] It's true, Nick.

And for something like you're asking, it's gonna take more money, and we're gonna need more time to do that.

- I don't know what else I can say.

- [Man On Phone] You don't think that's good enough?

- No, of course it's not good enough because it's your job.

Just do your (censored) job.

(child babbling) - Bulldozer.

- Yeah, your bulldozer.

Yeah.

Ooh, a pretzel.

- Yeah.

- Yum.

- Yummy.

- Can I have some?

Can you share with me?

Want this one?

No, you want the big one.

No, no, no, this is too big for you.

This is, yeah, that's big kids.

This big boy.

Let's do here.

You wanna go in?

Yeah.

Yeah, come here.

Turn around Here.

(heartfelt music) Oh, it's got a corner.

So we need to put that by the corner.

Try it over here.

See if it works here.

- How?

- Oh, I think it's gonna fit.

Let's get your hair.

You wanna get your hair wet?

- Yeah.

- Okay.

Look back.

Look back so I don't get your eyeballs.

Okay.

So that's what, another two weeks?

No progress.

Another 5K that I don't have, that we don't have.

I guess that's what I get for telling the contractor to (censored) off.

Are you gonna be all right if we don't have sex tonight?

- Yeah.

I feel like garbage anyway.

- Okay.

Don't protest too much.

Oh.

I think I need to tell my father that my mom is dead.

- Well, what's changed?

I mean, every time I've suggested something like this in the past, you freak out.

- I do not freak out.

- Well you get really defensive.

- [Nick] I do not.

- Okay.

- Look, he's the one that left.

It's not on me to reach out.

- [Wife] I never said it was.

- You just said this was your suggestion.

- Look, you don't owe him anything.

You owe it to yourself.

- Are we agreeing?

- Yeah, we're agreeing.

- Okay.

Good.

- [Wife] Good.

- Okay.

- Wow, I can't even imagine what it must feel like not having even spoken to your father since you were 13.

- It feels like (censored).

- Right.

Well, I think this could be a really good thing.

- Oh, I don't know.

I'm not crazy about this idea, but I just, I feel like he's been like hovering over me, my life since the day he left, and I don't know.

I'm just fucking sick of having him on my mind.

I can bury it and then Davis is born and all I can do is compare myself to him, and I don't know, I just, I don't wanna be the father that he was.

- [Wife] You're not.

- I know, I know.

I just want, I need some kind of closure.

- Do you even know where he is now?

- Yeah.

He's in Arkansas.

- [Wife] You have his number?

- Yeah, I had to ask around, but Ray put me in touch with one of his old friends who had it.

I don't know, I call and we talk.

Weird as that's gonna be, and then maybe it'll help.

I don't know.

I'm just so sick of feeling like this.

- I think if it makes you feel even a tiny bit better, then you should just do it.

- Yeah?

- Yeah.

But I don't know that just talking on the phone is going to give you any real closure.

I think you need to see him or her.

Look, you've got this tiny window of time right now that you're not going to have again for a while with the restaurant opening.

What if you asked him to come to St. Simon's?

- Okay, this is a terrible idea.

- Look.

You're going to spread the ashes anyway.

I know it's complicated, but- - [Nick] You think?

- I mean, I bet she'd like to be there.

And she probably needs closure with your mother too.

- Oh, my mom would be thrilled about this.

- Look, just ask him, ask her to meet you there.

You spread the ashes, maybe you go to lunch.

It's three hours tops.

If it's weird or- - You think it'll be weird?

You think maybe it might be a little weird?

- [Wife] Well, it's just three hours tops, and then it's done.

- You're literally asking me to do like a thousand times more than I suggested.

I think, I think a phone call, I think that's pretty damn good.

- If you don't meet her, you're always gonna wonder.

- [Church Member] I don't know about you, if you're a person that follows Jesus, a person that studies the Bible or not, I don't know.

But it's just, I'm struck by the immense privileges this morning to be able to speak to you and with you about what God is saying to us.

And that, in some ways, it's so amazing that God will do that, and it's also just amazing that this church has allowed people like me and Georgio, Jan, and others.

(car engine running) (phone dialing, ringing) - [Brianna] Hello, this is Brianna.

I'm sorry I can't take your call, but do leave your name... (phone ringing) - Hello?

- [Brianna] Hi, I missed a call from this number.

- Yeah, I called.

It's Nick.

It's Nicholas.

- [Brianna] Hey!

- How are you?

- [Brianna] I'm fine.

Well, I'm surprised.

How are you?

- I'm okay.

I'm calling because, maybe you know this, but mom got sick last year and she, she passed away.

- [Ray] Oh, I'm so sorry.

I didn't know.

I hadn't heard anything about it.

- Right, that's why I'm calling.

I wanted to, I thought you should know.

- [Brianna] Oh.

When did she pass?

- The end of November, I think November 29th.

- [Brianna] Thank you for telling me.

- I wanted to, I wanna see if maybe you want to get together to meet me in St. Simon's like we used to?

I'm gonna spread her ashes there on the beach, and I've been putting it off until I could reach you.

- [Brianna] When?

- This coming week sometime.

- [Brianna] Okay.

- [Nick] Yeah?

- [Brianna] Yeah.

I'll need a way down there.

- What?

- [Brianna] I'll need a way down there.

I don't drive.

- You don't drive?

- [Brianna] I don't have a license.

- Well, okay, but what about bus or flights?

I could look into flights for you.

- [Brianna] I think I might be too old for that kind of thing.

But you go on, and, well, I really appreciate the call and the invitation.

- I could um, I'd come pick you up, you know?

Like drive us both down.

- [Brianna] Where are you living these days?

- I'm still in Georgia, but I'm up in Smyrna now.

- [Brianna] That's not too far?

- No, that's, yeah, I can do it.

- [Brianna] Well, that's generous of you.

If it's really not too much of a headache, then of course I'll go.

- Okay.

Good.

(heartfelt music) Listen, I've got, I got some figuring out to do.

Can I call you back when I know more?

- [Brianna] Oh, you sure can.

- Okay.

We'll talk later then.

- [Brianna] That sounds good.

I'll talk with you later.

- Bye.

- [Brianna] Bye.

(heartfelt music) (heartfelt music) - Cannot believe that I'm driving to Arkansas.

- I know.

- Can you believe it?

- I love you.

- I love you.

- Can you say bye to daddy?

- Say bye?

- Can you say bye?

- Can you say, I love you?

No?

(chuckles) - Be safe.

- All right.

Bye.

- Say bye.

- Bye, bye.

- Say bye.

Can you wave goodbye to daddy?

(uplifting music) (uplifting music) - Here we go.

(doorbell rings) - [Brianna] Hi Nicky.

- Hey.

- Please, come on.

You must be tired after being in the car for so long.

- Sure.

- [Brianna] Can I get you something to drink?

I have sweet tea or I can make some coffee.

- Maybe just some water.

- [Brianna] Okay.

You just go on in there and have a seat.

I will be right in.

I think I'm gonna have some tea.

How was the drive?

- Oh, it was fine.

Just took a while.

- Good.

There you go.

- Thanks.

(background jazz music) - The last time I saw you, you were wearing braces.

(background jazz music) - So, how long have you lived in this place?

- Well, it'll be about nine years come March.

Yeah.

That's when I started at the credit Union.

- Credit Union?

- Oh yes, I work at the Conway Community Credit Union.

You probably passed it on your way here.

- You didn't, so there wasn't a family practice here or?

- Um, no.

I needed a change.

How is Christie?

- How do you know who Christie is?

- Oh.

You remember my friend Barry who worked at the medical center?

- No.

- We stayed in touch for a while, and he sent me a newspaper clipping of your wedding announcement.

- Okay.

We're not together.

We divorced.

- [Brianna] Oh, Nicky, I'm so sorry.

I didn't know.

- Yeah, they don't print divorce announcements, I guess.

But you know, it was a while back.

I remarried, and I think she remarried.

You know, it was a long time ago.

Don't feel bad, it's fine.

I mean, we're both better off.

- I'm sorry about your mom.

- Yeah.

- Cancer?

- Yeah.

It's one of those things, you know, she's feeling okay one day and then the next day she goes to see her doctor.

She thought she had like a bad cold.

And by that time it had spread all over.

They caught it too late.

Not much they could do.

- Isn't that the saddest thing?

- She was a strong woman, but... - The same thing happened to a woman at my church, a young woman.

Sang in the choir, active in the children's ministry and then that was that.

Left behind a husband and the two most adorable little boys.

It's just awful.

- I'm sorry, can I use your a bathroom?

Of course.

It's just- (Nick coughing) - [Brianna] Nicky, can I get you something.

Is there anything I can do?

- No, I think I'm fine.

I'm sorry.

I'm sorry about this.

My son has been sick and I think we're just passing his bug around.

I'll be fine in a minute.

- [Brianna] Your son?

- Yeah.

- [Brianna] Oh, I'm a grandmother.

Well, listen, you take as long as you need in there okay.

That means we need to leave tomorrow, then we leave tomorrow.

I'm out here if you need me.

Just holler.

(phone ringing) - Hey.

- [Abby] Hey.

How far did you get?

Where'd you end up?

- We haven't left.

- [Abby] Why, why not?

- I am down for the count.

I mean, the second I got here I have a puke like that since college.

- [Abby] Why didn't you text me?

- I don't know.

- [Abby] How are you feeling now?

- I am great.

You'd think I'd be completely empty but that is not the case.

- [Abby] Aw, babe.

I'm sorry.

- Is Davis asleep?

- Yeah, I just put him down.

So what's her place like?

Where are you gonna sleep?

- Well, Brianna insisted I take her room.

- [Abby] Well, that was nice - Huh?

- [Abby] Right?

- Yeah, but I took the couch.

- [Abby] How are you feeling, I mean, besides being sick?

- I'll fill you in later.

- [Abby] Is she in the room with you?

- Nope.

- [Abby] Are you afraid she can hear you?

- Yep.

- [Abby] You're ridiculous.

- I know.

(dog barking) (birds chirping) - Oh, hi.

I didn't wanna wake you up.

- [Ellen] You must be Nicky.

I'm Mary Ellen.

- Nice to meet you.

- You two, Brianna's told me so much about you.

- Has she?

- I got you some Pepto-Bismol and some chicken soup and crackers.

I thought that might help a bit.

Mary Ellen was nice enough to take me to the store.

- Thank you.

- Well, I'll just set it here on the table.

- It should be good to go in a little bit.

- Okay, well I'm all packed so I'm ready to go when you are.

- Well, let me get out of y'all's way.

Y'all be safe on your trip.

- Oh, thank you.

- That was nice we got to meet.

(door creaking) (door bangs) (horn honks) - Here, I'll get the gas.

- No, it's fine, I got it.

- No, no, if you're doing all the driving the least I can do is pay for gas.

- Okay.

- All right.

Oh, I'm gonna get some snacks for the road.

Do you want anything?

- No, I'm good.

- Do you still like YooHoo?

- No.

- Alright, I'll be right back.

(engine roaring) (engine roaring) - Are you okay like temperature-wise?

- I'm comfortable.

- Just let me know if you get too cold or whatever.

Wind on my face.

- I've been searching Facebook for you over the years.

- Well, I was on it for a couple years in college, but...

I got off.

I don't really like people knowing my business.

- Do you have carpal tunnel?

- What - Is that thing on your hand for carpal tunnel?

- Oh no, this is, I fell on it at work.

- What do you do?

- Like my job?

- Yes.

What do you do for a living?

- Well, technically I'm unemployed 'cause I haven't gotten a paycheck in about a year but I'm opening a restaurant.

- A restaurant?

- Yeah.

- What made you decide to open a restaurant?

- I'm a chef.

- Oh, you cook?

- Yeah, I do.

- Well, that makes sense.

You're always so creative as a child.

- It's kind of a long winding story but I originally went to school for graphic design.

- Oh my goodness.

I remember all those drawings you did as a child.

They were so incredible.

- Yeah, well I went to school for graphic design for two years and then I quit.

- You dropped out?

- Yeah, but, it was expensive.

I wasn't about to make mom pay for that burden, so.

- Oh, you were very talented.

- Thank you.

I'm much happier now, so.

- And your wife?

- Uh-huh?

- And what's her name?

- Abby.

- What does Abby do for a living?

- She works at a small media firm.

- And she makes enough to support both you and your son.

- What?

- Well, I mean, you said you haven't been drawing a paycheck?

- Yeah, she does.

- Okay.

So you cook?

- Yeah.

- (laughs)You must have got that from your mom.

What kind of restaurant is it?

What's it called?

- Lily's.

- Did she know you named it after her?

- Yeah.

- That's nice.

(traffic noises) (background music) - I think I'd like to make it a little bit further before we stop for the night, if that's cool with you.

- Oh, I'm along for the ride.

(chuckles) - I think I've reached that age where I don't like to drive at night if I don't have to.

- I'm the same way.

All those headlights are way too much for me.

- So, you don't drive at all now?

- Well, no... not without my driver's license.

- You don't have a license or what?

- My license was revoked.

- Revoked?

For what?

- I have a few DUIs on my record.

- Okay.

- And I'm not proud of that.

But I've dealt with it and I've asked for forgiveness.

- Was anybody hurt?

- No.

Nobody was ever hurt.

And on the bright side I don't have to pay for car insurance.

I don't have to worry about gas and upkeep and oil changes.

The bus runs on schedule most of the time and there's a stop just a couple of blocks from the Credit Union.

I can ride pretty much anywhere I need to go.

- Oh, alright.

- Would there be anything else?

- I didn't order anything.

- Oh, I got it for you.

I think that's it.

Thank you.

- I said I didn't want anything.

- I know, but you gotta eat something, Nicky.

- I'm not even hungry.

I don't think I could keep this down even if I wanted it.

- Well, then you can ask for it to go and you can heat it up at the hotel tonight.

It's my treat.

- You don't have to do that.

Hey, you paid for the gas and I appreciate it.

Thank you.

But I don't want you paying for my meals or anything else.

- Okay.

(background music) (background music) (engine roaring) - I'm just gonna run in and grab the keys.

- Oh yeah, I'll come with you.

- That's okay.

I'll take two seconds.

- Let me get the room tonight.

- I got it.

I'll just be a second.

(door bangs) (suspenseful music) - You want to just say we meet at 10 o'clock tomorrow morning?

- Sure.

- I think this is, yeah, this is you and 10 it is.

- Goodnight.

- Goodnight.

- [machine] Hello, no one is available to take your call.

Please leave a message after the tone.

(beep) - Hey, it's me.

I didn't expect you to pick up.

I don't know what I expected anyway.

I just wanted to call and tell you I'm with my son right now.

No, he reached out.

I didn't reach out.

You always said I should, so I just wanted to let you know.

I'm sorry for not listening.

I'm sorry for a lot of things.

I messed up.

I don't wanna mess this up.

- She keeps calling me Nicky.

- [Abby] Yeah.

- Yeah.

My father never once called me Nicky.

He was always Nicholas.

- [Abby] Well, what's she like?

- I don't know.

I never knew Brianna.

She's never a part of my life and it's not like I have to look that hard to see him to see my dad just sitting across from me and everything I feel about him.

It's like hating a complete stranger because they remind you of somebody you once knew.

- [Abby] Right.

- She's like, a nice lady, too nice.

I don't buy it.

My father was not a nice man.

Oh, and apparently she's also a bit of a lush.

- [Abby] Really?

- Yeah, like DUIs and everything.

- [Abby] Did your dad drink?

- No.

- He once took a lot of pills.

He had to go to the hospital and that was the beginning of the end.

He left soon after that.

I'd love to know what kind of mental gymnastics she does to stay religious through all of this.

No church I've ever been to would ever have her as a member.

- [Abby] Well, ask her.

- I am not that interested.

- [Abby] Why not?

- Look, when I was in high school there's this guy at my church.

He was just a kid in my youth group.

But he told his parents he was gay.

We all thought he might be gay, but you know it's not like we ever asked him about it.

That's not something you do.

But when he finally came out to his parents they just kicked him out of the house.

- [Abby] Oh, that's terrible.

- Yeah.

They disowned him.

And I remember thinking at the time they made the right decision.

- [Abby] Well, you can't beat yourself up for being born in Macon, Georgia and not being the most enlightened teenager in your church's youth group.

- It's not the point.

That's how I was raised.

That's what church was for me.

Twice on Sunday and once on Wednesday.

That's what my mother and father raised me to believe, children obey your parents for this is right.

- [Abby] Yeah.

But it's not how I feel now.

- I don't know what I expected with this but I didn't expect this.

- [Abby] I know.

I just don't think it's gonna feel exactly the way you want it to feel with any of it.

Your mom bashes with Brianna.

None of it's gonna be neat and tidy.

- Yeah.

(door knocking) - Hey.

- I'm going over to one of those fast food places across the street.

You feeling hungry yet?

- Oh, no, no, no.

I'm fine, thanks.

- Alright.

Would you like to come along anyway?

I wouldn't mind the company.

- I'm actually just fixing to get in bed.

I'm kind of beat.

- Oh, okay.

Thank you for inviting me along.

- Yeah.

- Could I bring you something back?

- No, no.

I'm literally getting into bed as we speak, so I'm good.

- I can't believe you're opening your own restaurant.

That's so exciting.

- Well, I don't think exciting is the word I would use but I'm taking it one day at a time.

- Is that?

- Yeah.

- Oh, never thought the next time I see her would be like this.

Always thought I'd have the chance to.

Just a few things I'd like to have said.

She was a good woman.

I must strike you as a pretty poor version of a... nobody.

Nobody could ever replace your mother.

Least of all me.

I'm kind of strange.

I mean, transgender parent, isn't it?

I just want you to know, I really appreciate your...(sighs) Um.

Sure I can't get you something to eat?

- No, I'm okay.

- Alright, then I will see you in the morning.

- Okay... Night.

- Good night.

(door clicks) (gentle music) - Getting close.

♪ I'm glad how to love you ♪ - What?

♪ How to love you ♪ - Oh, I said we're getting close.

♪ Little bit stupid to make up ♪ ♪ It's getting sometime it's crazy ♪ - Yeah, it's like another hour.

♪ Looking for change ♪ - You could always tell when we were getting close because I could see those trees without branches sticking out of the ground and on the trees was Spanish Moss.

♪ I'd love you today ♪ Do you remember what you used to call Spanish moss?

- What I used to call it?

- Hmm.

When you were a little boy.

- No clue.

- You said trees have old man beards.

♪ Oh, I would mind if I love you again ♪ - Guess I'll have to take your word for it.

♪ This time I'll let you goodbye and kiss it away ♪ ♪ All you'll bet, explain end the day ♪ ♪ That's all that matter to you ♪ Do you mind typing something for me?

Just say almost there.

I'll talk to you tonight.

Love you.

- Love you or I love you?

- Just I love you.

Or just love you, sorry.

♪ I'm ready, I'll love you today ♪ - Send?

- Yes, just the little blue arrow on the right.

- I know how to send.

- So great.

♪ Don't feel successful ♪ Thanks.

♪ It is how we get there ♪ ♪ I wish I can get you there ♪ Do you have friends or I mean like people you hang out with in Conway.

- That's group of church ladies Sometimes go to lunch.

- What about Mary Catherine?

- You mean Mary Ellen?

- (chuckles)Yeah, Mary Ellen.

Are you two like?

- She's just a dear friend.

So you go to church somewhere?

- Not really.

Abby's like me, she grew up in the church but we both kind of just went our own way, I guess.

She wants to start going again though.

She wants our son to have that base or foundation, whatever.

- That's important.

- Is it?

- I know your mother felt that way.

- Thought never even crossed my mind.

I only ever think about myself.

You know.

It's like, at any given moment there's this stuff that I've got going on and then there's everybody else's stuff and I'm only concerned about what I'm doing.

And I know that.

(chuckles) And Abby knows that.

(upbeat radio music) And when it was just me and her, you know, that was, that was okay.

She had her work, I had mine.

Now we have a son.

The one thing I've wanted my entire adult life is to have my own restaurant.

Few months, that's reality.

I can see the whole thing in my head, too.

I can picture that life and everything it entails.

Hours, stress, time away from home.

That's what I signed up for, you know.

I knew it getting in.

Abby knew it, too.

♪ Yeah, baby, I'm wishing I stayed ♪ We weren't planning on having a family.

It just happened.

And I love it, but I, I just feel, all I ever feel is that I'm letting them down.

You know, I feel like I'm can't give anything in my life.

The attention, it just, it's dedication that it needs.

♪ I really want to go ♪ - Well... when it comes to that kind of thing.

- No, no.

Tsssh.

(snorts) I wasn't looking for advice or anything.

I'm, I'm just talking out loud.

Forget it.

Don't worry about it.

(car radio plays) ♪ I really wanna go ♪ ♪ Back to bed ♪ ♪ With you, my friend ♪ ♪ With you, my friend ♪ ♪ Now I'm here on a mission ♪ ♪ Yeah, baby I ♪ (car door opening) What are we doing?

- It's check in's not till three.

I figured we'd stretch our legs.

- Hmm.

I think I'll stay put.

- You're just gonna sit in the car?

- Yep.

- Why?

- I don't feel like going out in the sun today.

- It's January.

- Yeah.

The sun still shines in January.

(car door shutting) (traffic noise) (somber music) (sea gulls calling) (ship horn blasts) (somber music) (somber music) - So you changed your mind about the sun?

- Nope, but I bought this hat.

- I see.

- (sighs) - Well, what's next?

(birds chirping) - Weird that people live here year round.

- How so?

- What do they do all day?

Doesn't it get old?

- It takes all kinds, I guess - I always forget until I'm actually here but I don't think I like the beach.

- I loved it when you were a child.

- We came here every summer and the only memories that stick out are getting sunburned in that time.

I stepped on the anthill during the fireworks.

- Yeah.

I never cared for it much either, to be honest.

- Then why do we keep coming here?

- Your mom, she loved it.

- I don't get it.

There's so hot and thick sand gets in everything.

Those rubber mats you stand on to wash off your feet and always hurt sunblock.

- Guess I always thought you enjoyed it here back then.

- Well, I liked it because it wasn't school and you guys let me eat junk food.

I remember we'd walk into the Winn Dixie and those doors would slide open and that first blast of cold air would hit you in the face.

Almost made it worth being so hot outside.

- Swam, played in the ocean.

- It's fun for an hour but then you're stuck here for a week isolated surrounded on all sides with nothing to do, nowhere to go.

You're captive.

- Oh, I think that's why your mom liked it.

It's a clean break from everything.

She never cared much for that bridge though.

- What bridge?

The big one?

- Yeah.

Oh God.

She was scared to death.

- Really?

- Oh, petrified.

She's used to close her eyes, grip the car door handle as tight as you could.

- I never knew that.

I guess you never really think about your parents being scared when you're a kid.

- Let's see that's why she always insisted to drive the first half of the trip and let me drive the second half.

The first time we ever came here.

We'd just gotten married.

But no, she'd been coming here for ages.

We had to pull over to the shoulder and switch before the bridge.

She, she, she couldn't tell me that she was afraid but she couldn't bring herself to go over either.

- You used to like playing golf here.

I remember.

- Not really.

- What?

You played golf all the time?

- Not all the time.

- It was like clockwork.

I swam, mom read on the beach, and you played golf.

You're telling me you didn't like playing golf?

- No, I thought of it as a part of my job.

Part of who I thought I was supposed to be.

- Weren't you pretty good at it though?

- No, I was okay, but I never liked it.

I always resented the other doctors were inviting me and then treating it like it was a requirement of the job.

All those teasing and bravado and bragging rights.

So I'll never get all those hours I spent on all those golf courses back again.

(birds chirping) (upbeat music) - Unfortunately, your credit card is declined sir, do you have another form of payment?

- No, no.

That, that, that should work.

Can you, can you run it again?

- I've run it twice already.

- Hey, I've got it.

I've got it.

I've got it.

- Yeah.

- Do you have one room with two beds?

- Yes ma'am, we do.

- Did we forget something?

- I'm looking at it.

- I, we took Davis to the doctor and did your paycheck get deposited?

- Yeah, I see it right here on the 15th.

- Maybe we went over on our data or or we ate out too many times or I don't know maybe we got charged twice or something.

- I don't know.

I'm looking at it.

Okay, it looks like the insurance came out and I totally forgot about it.

- Oh, f... - Look, it's gonna be fine.

Don't let this ruin your whole trip.

- You don't understand, all right?

- Understand what?

- I don't want to owe him anything.

- Her.

- Oh, whatever.

That's, this isn't, I wasn't ready for this.

- I know.

And I am so sorry.

- Don't, it's not.

- But you are- - Don't be sorry, okay.

This isn't your thing.

It's my problem.

Not yours.

Don't be sorry.

- You know what?

I'm just gonna call back later when you're in a better mood and actually ready to talk, okay?

- I'm ready.

I'm, I'a an f-ing problem.

- Just need to get my hat.

- (clears throat) Brianna, this is my wife, Abby.

Abby, this is Brianna.

- Hi.

- Hello.

It's nice to meet you.

- Oh, likewise.

And yeah, I'm so happy to finally meet you.

- [Davis] Hello.

- Aww.

- This is, this is our son, Davis.

- [Abby] Davis, can you say hi?

- [Davis] Hey here.

- (laughs) Hey sweetie.

Hello.

- [Davis] Hello.

(gentle music) - Hey.

I know you.

- Where have you been?

- Oh, just out walking around.

Went into a few shops.

So of you decided where we should eat dinner yet?

- Wherever.

- After dinner, I want to take you into a children's store.

I just discovered I would like to get a little something for Davis.

- You've, you've already done so much.

- No, don't worry, don't worry.

It'll be small.

I could use some fried shrimp.

What would you like to eat?

- I don't care.

- Still not feeling any better yet?

- No, I'm fine.

I'm just, I'm not hungry.

- Well, it's strange being back here again.

Almost seems like nothing has changed.

Look, I know this is soon and I know this is a lot to ask, a lot to hope for and I'm not sure about the exact particulars.

Somehow it would work but I would very much like to be a part of your life again.

I would like to know Abby and seeing little Davis on that screen.

Aw, I just wanted to hold him and spoil him and know him.

I would like to help you and Abby and I want you to know that I'm there for you for all of you.

A week ago.

I never even, and now look, there you are and you've got this whole life a whole world in Smyrna that I never even knew existed.

And I want to know it.

I want to be a part of it.

- I don't think I can do that.

I don't think I want that.

- No, I know we don't live close.

- Can we not?

Can we please not do this right now?

- Why did you invite me on this trip?

- What?

- I said, why did you invite me on this trip?

- I don't know.

I, I wanted to close the door.

Oh, I don't want to talk about it.

- We've not talked about it for 23 years.

We've spent our whole lives not talking about it.

Not talking about it is why we're here.

Not talking about it has always been the problem.

- Stop acting like this isn't complicated, okay?

This isn't like- - Nicholas, son.

- Stop it!

You don't get to do that.

You don't get to call me son.

(quiet music) (quiet music) (door opens) (lock clicking) - What would you have preferred?

Those were terrible, terrible times.

It got worse after I left.

I thought it would get better, but I, there were some days I couldn't even get out of bed stopped going to work.

I tried so many things that I thought would help.

I was hurting.

So I drank to make the pain go away.

And when that didn't help, I drank to make it all go away and nothing got any better.

And sometimes I thought, I really loved your mother but I regret, I regret marrying her.

I shouldn't have done that.

I knew then...

I thought it would go away after I got married.

So I, I, I regret the pain I caused her.

I regret the pain I brought on myself.

But I do not regret.

I don't regret you, but your mother and I were so miserable and you were getting to the big where I... you would start to get miserable too.

And I realize now that we only traded one kind of misery for another.

But when I searched my heart I really don't think there was another way.

I left and I have to live with that.

But I did not shut you out.

I wanted it to work somehow.

And maybe I was naive for thinking it could work but I did not cut you out of my life.

Nicky, why did you invite me on this trip?

- You wanna know?

It was my wife's idea.

I just wanted to just call you and move on with my life.

I thought this was a bad idea.

I don't know what the point of this is.

- Do you mind if I leave the TV on?

I don't think I can sleep without it.

- [Nick] Fine.

(indistinct TV chatter) (waves lapping) (waves lapping) (dramatic music) (birds chirping) (somber music) (gentle ocean waves) (gentle ocean waves) (ambient somber music) (ambient somber music) (yawns) - So you're not staying the night?

- No, I'm leaving.

- God, it's after 10 o'clock.

- I need to go.

- (sighs) You really should rest before you make that drive.

- I'll be okay.

- I do not understand why you won't just talk to me.

- All we've been doing is talking.

- I've made every effort these last few days.

- A few days?

You kidding me?

For 20 years I haven't had a father.

Do you know what that's been like for me?

- I don't know what you've been told over the years, but I did not abandon you.

- What would you call it?

- Look, your mother is a wonderful person, for the most part, but when she saw this, what I am, what I really am, she refused to have anything to do with me.

- Do you blame her?

- And she made it very clear that I was to have nothing to do with you.

- So you just say okay to that and then go on with your life?

- That's not what I did.

I tried to work things out with her so that I could see you or talk with you.

- The last time I saw you, you said that you were going through a lot.

Okay, I didn't realize it was this, and you said he had to go away, but that you would see me again.

And that was a lie.

- God, can you even hear me?

I'm trying to tell you that I tried!

I called constantly, and she wouldn't even let me talk with you.

- It seems like everything is her fault.

Somehow you leaving is her fault.

- No, that's not what I said.

I wanted to see you.

- And what you're just trapped in Arkansas, you can't come see me?

- I wanted to protect you.

I didn't know what your mother had told you, but I was going through a really bad time, and I didn't want you to feel shame or embarrassment because of me.

- [Nick] So it's my fault.

- No.

- [Nick] First it's mom's fault, now it's my fault.

- It's not your fault.

It was never your fault.

Life is messy, and you got hurt because of my mess!

I can't forgive myself for this.

- It seems like you think that all you have to do is be pleasant and agreeable, and then somehow we can just start over like the past never happened, but I can't do that.

Okay, I don't know how to do that.

- I'm not asking you to pretend that the past never existed.

All I want is to have a chance to be a part of your life.

Think about how you feel about your son.

Imagine him someday wanting nothing to do with you.

Imagine having to grow old without him.

- I would never leave my son.

You up, and I'm sorry, I just, I can't do this.

- How else can I tell you that I am sorry for how it happened?

But it happened.

And you can hate me for the rest of your life, but you will always be my child.

I love you.

I have always loved you.

- I need to get going.

- There's no reason for you to be driving so late.

You hate to drive at night.

(car door closes) (car door hatch closes) (solemn ambient piano music) (solemn ambient piano music) (Briana groaning) - Nicky.

- Hey.

I think you're right.

It's getting late, so I should probably just head out in the morning.

(gentle piano music) (gentle piano music) - My name's Timothy Hall, and my film is called, "Landlocked."

So our film "Landlocked" follows a character named Nick, who after his mother's death he reconnects with his estranged transgender parent, and who he hasn't seen in over 20 years.

And they take a trip across the southeast to scatter his mom's ashes off the coast of Georgia, off of Saint Simon's Island.

So it's a road film, it's a story of reconciliation, it's a parent-child film, and the story of a person who felt they'd been deeply wronged seeing a vastly different perspective and seeing how their behavior and their actions were quite damaging.

So this film came about after our previous film played the Atlanta Film Festival in 2017, where we won the Georgia Film Award.

That came with a $10,000 gift certificate to a rental house, which was kinda mind blowing.

And I had two years within which I had to use it.

I knew I needed help writing the film.

And I have a friend, Jonathan Foster, who's a tremendous writer, who's written some really wonderful screenplays.

Thankfully, he was willing to kinda jump on board with me and write the film.

And the the whole time we're writing it I knew I was gonna work with Dustin Gooch, who's an actor based outta New York, who's in my previous film.

But knowing we needed, you know, it wasn't an option to not cast a transgender actress.

I'm wanting to, at least in my writing and in casting, find somebody who has some kind of shared experience with a character so that they're bringing some authenticity and some detail to it that myself, as a straight cisgender white male, I'm gonna do my best to imagine, but I wanted desperately and it was imperative that we needed somebody to collaborate with that was gonna bring authenticity and somebody that was open to really combing through the entire script with me and making sure that everything felt authentic.

And, you know, I was really interested in the idea of this being a parent-child relationship where both parties feel that they were the one that was abandoned.

We follow our main character Nick, who, feels like in his mind his father walked out on him when he was a teenager, journey where he learned that his view of things and what he had been told and his one perspective wasn't the full picture.

And while Briana feels very much like she was the one that was abandoned, and for her it's a chance to rejoin her family.

And so it's kinda, everything comes to head, because we have these conflicting objectives where he's looking to find closure and move on, put her in his rear view mirror, and she's looking for a chance for the first time in 20 years to know her son, to meet her grandchild, and her daughter-in-law, and get to be a part of the life that she was sorta shut out of.

- She was a good woman.

I must strike you as a pretty poor version of a... Nobody could ever replace your mother, least of all me.

Kinda strange having a transgender parent, isn't it?

I just want you to know, I really appreciate your.

(sighs) Sure I can't get you something to eat?

- For me as a Christian, as a writer, I feel like empathy and curiosity and compassion and love are all that matter in this life.

And it was my feeling, and I think frustration at just the complete lack of curiosity or empathy that I felt from a lot of folks and a lot of fellow Christians towards the transgender community, and knowing a few transgender folks and what they've gone through, and basically what I've seen in film in general, like, I wanted to portray a character like I said, that was resolved.

And in our film, she's the grounded one, she's the one that knows who she is, she's the one that, you know, is able to behave and treat people with kindness and grace.

I wanted to create an opportunity and a character that I felt like I hadn't seen.

So I'm from Macon, Georgia originally, and I was born and raised there, and after high school I went to the University of North Carolina School of the Arts, which is a tremendous film school.

And you're always trying to figure out who you are as an artist or what your voice is and what's unique about you.

And I'm interested in telling stories of the nuance and the complexities of life in the South.

I mean, really from what I've experienced and growing up in the church and some of the dysfunction you encounter, it's just there's so many shades of gray, and it's wanting to tell character stories of life in the South as we take this, what feels like it's going in slow motion, but I do think it's going forward to this slow climb forward and to better times.

I just feel like Atlanta's everything that's good about the South, and it's everything that's moving forward and exciting and progressive.

I think it's an exciting place to be with all the resources that are here and then all the independent filmmakers that are here.

And it's a great place to make a film.

And there's tremendous actors.

So it's a community that I'm super happy and proud to be a part of.

You know, independent filmmaking on a very small scale is difficult and you have to be resourceful, but it just, it all feels worth it and makes you wanna just jump back in and do it again when you're in a room with people and you feel like they connect and what you intended to do, set out to do, you feel like you're seeing kind of the fruits of that, and that validation kind of makes it all worth it.

- These films are moving and relatable in so many ways, no matter your sexuality.

We've unpacked a lot of complex feelings.

In our next episode, we sit with royalty, we'll hit the road, and we'll welcome new life into a tricky world.

I'm John O. Mitchell.

I'll see you next week for Atlanta on Film.

(dramatic orchestral music) (dramatic orchestral music) W-A-B-E (MUSIC TONES)