(bright 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".

(bright music) Hello.

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 is made possible by our friends at Out On Film, Atlanta's LGBTQ Film Festival.

Tonight, we're going to chat with a variety of people who are using their lives to shake the narratives that the world has assumed for them.

Ava Davis will regale us with her grace in "The Duchess of Grant Park", before we hit the road with Maya Brianna Morton in "The Traveler".

We welcome new life in "Pink & Blue" by Kaydx, then take some advice from friends and family in Patrick Seda's "Reverend Falls".

But first, we witness how an individual comes to grips with their self-identity through the simple act of getting dressed in John Kilberg's, "Vestirse".

Enjoy.

(video camera rolling) (screen beeping) (gentle music) (gentle music) (phone buzzing) - [Voicemail] Hey, you've reached Jacky.

Please leave a message after the beep.

(phone beeping) - [Mom] Hey, I'm running late.

Meet downstairs?

I'll buzz when I get there.

To answer your question, (speaking in Spanish).

Bye.

See you soon.

(phone beeping) (hangers clacking) (gentle music) (hangers sliding and banging) (clothes rustling) (t-shirt flicking) (clothes rustling) (calm music) (calm music) (Jacky sighs) (clothes rustling) (calm music) (calm music) (clothes rustling) (tie rustling) (Jacky breathing heavily) (hanger knocking) (clothes rustling) (calm music) (buttons ripping) (calm music) (cabinet door shutting) (shaver buzzing) (shaver buzzing) (tap running) (hangers sliding) (hanger knocking) (calm music) (calm music) (switch clicking) (door creaking) (calm music) (calm music) (doorbell ringing) (buttons beeping) (calm music) (handle clicking) (handle clicking) (footsteps tapping) (calm music) Hey, good-looking.

(calm music) (calm music) - So my name is John E. Kilberg.

I am an independent filmmaker, a non-binary artist.

I have dual citizenship between Atlanta and Brooklyn.

They're my two homes of my life.

And I just like to create content that, you know, is focused for the queer community, but, you know, geared, also, towards all audiences.

(gentle music) So the film that we have here with y'all is called "Vestirse", which in Spanish means to get dressed, getting dressed.

It is a very intimate look on an individual trying to decide how to wear what they want to wear for their mother that day.

And it's just a very quiet and intimate look with some of the best scoring I've gotten to work with in my career so far by Samuel Campoli.

Shoutout to his incredible work.

And just, you know, really trying to identify and understand maybe, you know, beginning, like, the inner thoughts and day life of a non-binary individual.

There's some individuals who are cis and male and aren't non-binary or trans, but maybe they wanna, you know, wear something a bit more feminine and they feel ashamed by it because we've kind of been really much worked as people, as a world, like, even through film and through books, to look a certain way.

Like, that's the normal, you know?

And, you know, we have to shake that up because there's no such thing as that.

You know, that's all been- In my opinion, it's all been created to try and really limit what people can do so things just kind of stay the same in this normal way.

But, you know, I think a misconception is that, you know, we're just, you know, a phase or, you know, we don't really know what we want or, you know, they're just a boy in a dress.

(calm music) (handle clicking) (handle clicking) (footsteps tapping) I just think people need to realize and kind of become a little bit more understanding that, in this world that we live in, a lot that we do was kind of shown and told to us through media.

Like, you know, and we live by it every day through the people in charge, or the people in power, you know, to dress a certain way.

I mean, it's incredible.

People could go to the Oscars wearing jeans now.

I mean, that's ridiculous to even say, because whatever.

The artist should, you know, wear what you want to wear.

The art, you know, comes out of you.

It has nothing to do with what you're wearing.

But it's become such a heavy thing, what you're wearing.

You know, like, it's become such a, you know, like, a, you know, because we don't see, in movies or TV, a lot of people who are non-binary, just- But if you live in cities or if you are in these areas, these people, our people, have been living for, like, generations just here.

We're just getting more movies and shows made out of us because more people are, luckily, becoming more understanding to us and are willing to watch and pay to watch our kinds of stories.

So, my origin story.

I am very, I mean, bluntly, very much a New York rat.

LOL.

Meaning that my grandparents were immigrants to this country.

They learned English through watching movies and TV shows and with each other and at their jobs.

And my father's side, they're Jewish, they're, you know, Jews who moved over in the 1800s to Brooklyn.

So from there, my mother ended up living in Atlanta for most of her high school life and that created a community in Atlanta for me to have.

One of her best friends, who I considered an aunt, lives there.

My grandfather had a job there and frequently, you know, will visit Atlanta and see his old friends there.

And then that led me to wanna attend SCAD.

And SCAD, you know, brought me down, you know, to live full-time.

I mean, Atlanta and Savannah and Georgia have just become so important to me.

And then it was after school that I ended up spending more time in Atlanta.

I started connecting with Wussy Mag.

I work for the Wussy Movie Club that's based in Atlanta.

And it's, you know, it's just become part of my life that my art has always felt specifically for the communities between Atlanta and Brooklyn because Atlanta and Brooklyn have very similar vibes, have very similar ideals and communities and art.

And I'm just so proud to continue to make stories that those in both Atlanta and Brooklyn can enjoy.

Atlanta has that special uniqueness where artists are born there, creativity is born there and you can work there.

And I just think, I mean, especially, lately for media, for film and TV, it's just become such a home base.

(calm music) The queer voice in Atlanta is so strong that nobody really wants to back down in how we represent and show ourselves through media, through film.

So I think the city embracing film lately has brought in such, like, an approval, like, this feeling of confirmation that we, as queer artists in Atlanta, can really do what we want to do and just make what we wanna make.

There's been such, like, a confirmation, at least in the last two years, I think, or three.

It's been going on way longer, but I mean, really in the last three or four years, it's just...

There's this strong voice of, like, we can do this.

And it's been such a good marriage of, like, understanding content and community.

(video camera rolling) (screen beeping) - The Duchess of Grant Park rules over her duchy with a benevolent hand.

When a pessimistic journalist decides he wants to make her the subject of a documentary, he must enter her world and open up to understand her past, her connection to her duchy, and what it means to be regal.

This is "The Duchess of Grant Park".

(video camera rolling) (screen beeping) - [James] So let's get started, shall we?

- Okay.

- [James] You call yourself a duchess.

- I am a duchess, yes.

- [James] And what is your duchy?

- The duchy of Grant Park.

- [James] (laughs) That's... That's not a real duchy.

(The Duchess laughs) (romantic music) - A duchy, my duchy, isn't just a physical space, it's one's community, who you choose to love, and who loves you back.

You know, one of the things I love most about being a duchess is that I really feel I'm led to help people, you know?

We, as a nobility, are called to serve.

(piano music) (door opening) (piano music) (door closing) (footsteps crunching) (piano music) (piano music) (car door closes) (car starting) (stones crunching) (pen scribbling) (computer mouse clicking) - Hey, you've heard of the Duchess, right?

(birds chirping) - Oh my God, I love her.

She's looking at Lena Institution.

- Like Baton Bob or the Confederate flag guy?

- Oh God, let's highlight Blondie instead of him, but yeah.

The Duchess is awesome.

- Um, what do you know about her?

- Well, I know that she's fabulous and she's a duchess and she gives me confidence.

(James sighs) She does.

Why?

- Nothing.

I'm just- I'm having a problem with this documentary on her.

- Well, you've never had a problem with one of these before.

What's wrong?

- She's not really a duchess.

- Really.

- She's not.

- Well, who's to say she isn't?

(Lisa kissing) (footsteps tapping) - But she's not.

- [Lisa] Who's to say she isn't?

(children playing) - This is my duchy.

(footsteps tapping) It's quite charming, isn't it?

- Well, I'm gonna have to correct you there.

This is a city park.

- I feel like I was meant to give back, you know?

- No, I, I don't know.

Thi- this isn't yours to give.

(children playing) - Do you have children, James?

- Yes, but I don't see what that has to do with the city park.

- Very well.

Let's get going, shall we?

- [James] When did you feel that you were first called to attend your duchy?

- I felt I was called, a couple of years ago, I was walking through the park and I saw a small child crying.

I crowned the child then and there with a spare crown I always keep in my purse.

And the delight on that child's face told me there was much work to be done.

I wanted to thank you all for coming out today in support for the charity for Returned, Foreign, Un-Adopted Children.

- Do you think she really is one?

- You don't really think that.

- I don't know, I mean she could be.

- It's one of the most pressing issues of the day and I think we can all agree that no child deserves to go un-adopted.

Therefore, we are committing $5,000 to the Chuck-E-Cheese Fund so that these children may smile once more.

Thank you.

- What the?

(quiet applause) - If you don't mind?

- [Speaker] Sure.

- Charity for Returned, Foreign, Un-Adopted Children?

- Yeah, really rolls off the tongue there.

- Uh, Miss?

I'm not gonna say it, I'm not enabling this.

You're not a duchess.

- Who's to say she's not a duchess?

I mean who's to say I'm not a duchess?

- Yes, I do believe that your great great grandfather's mother's sister died, leaving the county of Cabbage Town open.

- I'm the Countess of Cabbage Town?

A countess, I a countess!

- No, no you're not, neither of you are.

- Shh, okay?

There could be other countesses and duchess out there.

- We should find them.

- And we should start a group.

- And have tea.

- And crumpets.

- No crumpets!

Okay okay, maybe crumpets, but neither of you are nobility.

This is America, there was a revolution and everything.

- Oh, I am so rather glad to have found another member of nobility.

It is hard work that we do and we must support each other.

(twinkling music) - Seriously?

Where did you get a crown?

- Oh, I keep a spare.

- You keep a spare crown?

- Oh yes, that's how you can tell I'm a member of the nobility.

See, you need a crown for every occasion.

- I'm leaving.

- Where are you going?

- Wait, okay, you could be um, what else is there?

- A baroness.

- Baroness, the Baroness of Buckhead.

- A baroness, are you kidding me?

- What, what's wrong with being a baroness?

- A baroness is a perfectly respectable title.

- You know what, I'm done.

A baroness.

- (sighs) I swear they'll let anyone become nobility these days.

- They really do, don't they?

- [James] Excuse me?

- Yes?

- [James] Can I interview you real quickly?

- Oh sure.

- So you don't believe she's a duchess?

- (laughs) Of course not.

Just because you run around town calling yourself a duchess doesn't make you a duchess.

- And what would you say to her followers?

- I would say you're crazy, and this charity?

(laughs) - Thank you.

(gentle horn music) (gentle horn music) Well, this is not Grant Park.

We're not even in Atlanta anymore.

That's the house.

There, let's see if we can get a shot of that.

(birds chirping) Hi there.

- [Gardener] Hi.

- Hi, sorry, I'm James.

- Oh hey.

- That's my crew.

(gardener laughs) I'm sorry, we're just doing a profile piece on your neighbor, you know, just everything she's done for the community.

- Oh, I didn't know she was such a big celebrity.

- Oh, the Duchess?

Oh no, she's not a big celebrity.

- But the Duchess?

Oh my word, my family always asks about her every time they come to visit.

(laughs) The Duchess, and she lives next door?

- Yeah.

I'm sorry, you really, how have you not known that?

- Well I mean, I just thought, you know, she just liked getting dressed up all the time, but it all makes sense now.

- What makes sense now?

- Well, I mean, she's always dressed real nice, a real classy lady, but it seems like she's been dressing up and staying dressing up, like all the time, really since about five years ago.

Oh, the Duchess, oh, hang on hang on hang on, oh.

Yeah, yeah.

Honey, honey, the Duchess lives next door, did you know that?

- I'm sorry, what happened five years ago?

- Her husband died.

Oh no no no no no no-- - Husband?

- Not you, oh honey, no, not you.

Hold on a second, hang on a second.

Yeah, like they always kept to themselves.

I mean, (sighs) they'd always say hey and stuff, but just not too chatty, and then, you know, he just wasn't there and I didn't see her for a while either, but then I did and well-- - Oh hey, thank you for your time.

- Oh yeah, you're welcome, sugar, yeah.

Oh.

Now, we can't get all crazy, honey, and just gawk at her all the time.

I know, I know, isn't it exciting?

It's so exciting, I'm so excited.

We should bring a casserole.

(gentle somber music) - [James] You've done so much to inspire your community.

Is there someone out there that inspires you?

- I am always inspired by the words of another great royal, Princess Diana.

I want to walk into a room, be it a hospital for the dying, or hospital for sick children, and feel needed.

I want to do, not be.

(gentle somber music) - Um yeah, so over here, we just get some B roll, uh, the Henk Scramp Park coffee shop up there and do you guys hear, can you pick any of that up?

Hey, excuse me guys, what's going on up there?

- I don't know, there's some lady passing out crowns.

- Oh the Duchess?

- Who's the Duchess?

Oh, she's the lady that's been passing out crowns for the past few years.

All right, come on.

- Good, thank you guys.

Really?

(gentle somber music) (quiet chatter) Oh this would have been great to know.

I guess we'll do an interview or something, we'll see if we can get some of the parents or uh, I don't know, uh B roll of the kids, just.

(chuckles humorlessly) (leaves rustle) - [Speaker] Oh excuse me?

- [James] Yeah, what's up?

- Oh yes, did I miss the Duchess?

- [James] Oh yeah, she was here, but uh, she's gone.

- Oh.

- So, wait, how do you know the Duchess?

- Oh well everyone knows the Duchess.

I guess next time then.

- Yeah.

Next time.

Okay, what is going on right now?

(grumbles) - My proudest moment, comes from seeing the change that I make in the neighborhood and when I walk through the neighborhood and people tell me that they're practicing more self-care, the tiara that I've given them, (laughs) it encourages them, it pulls them out of whatever funk they're in.

Those are my most proudest moments.

(container clanks) (door clatters) (glass clanks) (liquid burbles) (container clanks) (birds chirping) (knocking at the door) (glass clanks) - (chuckles) Your Highness.

- May I come in?

- Of course.

- And it's just Grace.

- Wait, your name's Grace?

- Your Grace instead of Your Highness.

- Oh.

(pattering footsteps) - [Duchess] You have a lovely home here.

- Uh, thank you.

(door clatters) I'm glad you came by, but can I ask why?

- I saw you at the park the other day.

- Yes?

- And I heard you'd come by my own house.

- I had.

- This is all off the record.

- I can't promise that.

- Very well.

- Wait, okay, all right.

It's off the record.

- Why did you come by my house?

- Well I had to know more.

- You could have asked.

- Would you have given me a straight answer?

- Depends on the question.

- All right, who's Andrew?

Who's Andrew?

- I think you know who he is.

(laughs) - Who is he to you?

- Who is he to me?

(laughs) That's a silly question.

Andrew made me feel loved.

When I was alone, Andrew was there.

When I said, "Darling, I'm ready to change," he said, "Change if you must, but to me, you're already a lady."

He was my love story.

He made me feel like a Duchess.

And then I lost him.

(chuckles) - I'm so sorry, Your Grace.

- No, don't be.

- I mean, if you prefer Your Highness.

- Ma'am is fine.

- Ma'am.

If you don't mind, I'd like to ask a few more questions.

- Mmhmm.

- The other day at the park, what was that?

- I believe that every child should feel special.

Andrew and I, we wanted children, (chuckles) but life changes.

- So the park.

- The world needs a bit more magic so that every child feels special.

Don't you think?

- Sure.

Were you adopted?

- (chuckles) I was.

- Were you returned?

(Duchess laughs uncomfortably) - When my adoptive parents found me playing in her closet, they sent me back.

Religion is a funny thing, don't you think?

- James, it is so freakin' hot outside.

- Uh.

- Oh my God, Your Highness.

I'm Lisa and this is our daughter, Lily.

- Well, I think you have all you need to write your story now.

Think I shall take my leave and attend to my duchy.

- Grant Park's not a real duchy, that was all off the record, wasn't it?

- It was nice to meet you both.

- It was lovely to meet you.

- Your Highness.

- Put it all back on the record, except for the children.

- Thank you, Your Grace.

- Au revoir.

(birds chirping) (ringing music) (birds chirping) - Oh my God, look at you!

- What?

(laughs) - It's beautiful.

- [James] If you could say one thing to Andrew now, what's something you would want him to know?

- Darling, are you proud?

- [James] What do you think he would tell you?

- Of course I am.

Of course I am.

(upbeat playful music) (upbeat playful music) - I'm Jono Mitchell and I am here with Ava Davis, the writer and star of "The Duchess of Grant Park," a 2021 official selection of the Out On Film Film Festival.

Ava, thank you so much for being here.

- Thank you for having me.

I'm so excited to see you, oh my God.

- Tell me about "The Duchess of Grant Park."

- "The Duchess of Grant Park" is a short film about a lady who claims Grant Park as her personal duchy.

And then you have this investigative journalist who's trying to figure out, all right, who is this person because (laughs) you can't just claim a public park and a neighborhood as your own duchy.

And as the story unfolds, we find out that she's felt so at home in this community, and the community has given so much to her, that she wants to give back.

And her way of giving back is, number one, making herself a duchess and then number two, (laughing) going out in the community as passing out tiaras as a form of self-care and encouraging people to take care of themselves in the same way that they've taken care of her.

I wanted to thank you all for coming out today in support for the charity for Returned, Foreign, Un-Adopted Children.

- Do you think she really is one?

- You don't really think that.

- I don't know, I mean, she could be.

- It's one of the most pressing issues of the day and I think we can all agree that no child deserves to go un-adopted.

Therefore, we are committing $5,000 to the Chuck-E-Cheese Fund so that these children may smile once more.

Thank you.

- What the?

- What kind of ideas inspired you?

- Okay, if I'm gonna be completely honest, trauma, like, in processing trauma, and finding a way to do it, like, in a way that's healthy for me and then also for the story.

So, like, with the Duchess, it was, okay, it's not necessarily trauma, but the whole idea of transitioning and, like, that's terrifying.

And then also part of the story in the film is the Duchess has lost her partner, and for me, it's like how would it be, (sighs) how would my transition journey have been if I did not have my partner in this stable relationship?

Like, I'd have to be out there and I'd be grieving and, like, all of that, so yeah.

- How do you translate trauma into something as joyous as the Duchess because the underlying, you know, the foundation of the Duchess is incredibly joyful-- - Right.

- It's incredibly hopeful, and I think there are hints of trauma there, but it is not at the forefront of the film.

- Right, so apparently, like, when you put trauma at the forefront, it makes a completely different film.

(laughs) - [Jono] Apparently so.

- (laughs) But by, by adding joy, like, I think that's how we really, humor and joy, and finding a way to process it and make it healthy, like, in a way, like, in the Duchess, her way of processing is by going out into the community and embracing others.

And I think we all have our different paths to healing and processing trauma and, I think that's how you make a story palatable is focusing on, like, all right, how are you getting to the other side and what are you doing on the other side?

(quiet orchestral music) - [Jono] I think that "The Duchess of Grant Park" evokes a very strong aesthetic to old Hollywood and I think that you see a lot of, you know, this call to royalty in it as well, obviously.

It's about a duchess ruling over her duchy.

- [Ava] (laughs) Right.

- What draws you to that aesthetic, specifically looking at how you've discussed, you know, this film and a figure like the Duchess wouldn't have existed in a time like that.

- Images and stories are so powerful and setting the Duchess, like, in that old Hollywood style, with the music, with, you know, the misty look of it and the way that she speaks, like, it's, you can't go back and rewrite history, but you can draw inspiration from historical things that consciously or subconsciously let's people know, like, oh right, this is a part of history, so to speak or whatever, it should be a part of history, or something like that.

And that way, it's kind of grounded in this pre-existing structure and that allows you to tell something new and get into people's minds because they're already comforted by, like, oh this nostalgia for old Hollywood, and now you have this transperson, like, oh, that's scary, but old Hollywood, okay, okay, I'm in now, and that's sort of, like, making the new and exotic more palatable for people who may be afraid.

- So did you film here in Atlanta?

- We sure did.

- In Grant Park?

- In Grant Park, and in Oakland Cemetery, and (laughs) apparently, like, we didn't get the permit for that, like, literally until the day right before we shot.

And, like, I was losing my mind, 'cause like, schedules were set and everything and so it was just like, okay, well if we don't get this then we're gonna have to wink wink, nod nod, but it all came through in time, and-- - What makes the Atlanta film scene so unique?

- It's really that sense of community and connection and also, like we've seen how New York does and we've seen how L.A. does it, and it's like this decision to wanna do something different and more sustainable and connected and not so, like, I'm sure we've all worked on big productions, but it's the smaller productions and it's like this can-do spirit of, like, all right, well we don't have that, so let's make it happen, like, and not only that, but like, reaching out and being able to be like, "Hey, "I'm in need of this, do you have this," and someone may be like, "No but I know someone who does, let me put you in contact with them," and that's what makes Atlanta so beautiful, like it's the sense of connection.

- Right-- - Yeah.

- I like that you mentioned L.A. and New York because so many people try to make these comparables to these cities-- - Right.

- But, you know, and I think you agree, we've talked about this-- - Yeah.

- You know, off camera, but Atlanta is just Atlanta-- - Right.

- Why are we trying to be L.A. or be New York?

We can just be Atlanta.

- We are Atlanta-- - Yeah.

- Like, I was having this conversation with a mutual friend of ours and we were talking about how, like, because we live in Atlanta, we don't think about it, but Atlanta has become this dream city, just like New York and L.A. where people are moving here with their own hopes and aspirations of, like, making it in film or music or whatever, and that's also kind of a beautiful thing where Atlanta will be transformed by these people coming in and creating Atlanta out of their own collective vision.

And so it's not New York and it's not L.A., like, it is Atlanta.

You can find hot wings, or chicken bones on the ground, and that is pure Atlanta, no where else can do it better.

- No one else-- (Ava laughs) gives us better chicken bones on the ground than Atlanta, Georgia-- - Right?

- What do your audiences take away from this film?

And your work as a whole?

- There's still a bit of magic left in the world, like, I think that's the biggest thing, and there's a bit of magic and you can use that magic to heal.

- [Jono] So what's next for you?

- What's next for me, I am pulling out my hair trying to make a feature film, (laughs) for the first time, and it is the worst and best experience possible, but yeah, that's what I'm most excited about next.

(film reel rattling) (beeping) - The people we meet in passing sometimes have long-lasting, profound effects on our lives.

When Casey Jones wanders into a small town on her way across the country, Shea, a kind heart, living in a fraught home situation, takes her in while she figures out what her next best move will be.

What they learn from each other in their short time together will change them both forever.

This is "The Traveler."

(film reel clicking) (countdown beeping) (gentle acoustic music) (gentle acoustic music) (keys jangling) - You okay?

- [Casey] For the most part, yeah.

- Can I give you a ride anywhere?

- No, no, that's, that's fine.

- Where are you going?

There's like nothing out here.

- I'm just trying to find like a hotel or a motel or something.

I can really, I can go real quick.

It's okay.

- Motel?

Okay.

Nearest motel is like 20 miles down the road.

I mean, you definitely could walk.

It'll just take you like six hours, so.

I'm actually driving down that way anyway.

I could just, you know, give you a ride.

- [Casey] Yeah, yeah.

All right.

Thank you.

- Yeah.

(gentle acoustic music) (engine starting) (gentle acoustic music) So, where you headed?

- Arizona.

- Oh, wow.

(chuckles) What's out there?

- My dad.

- Is that where you're from?

- No, no, no.

I'm not, I'm not really from anywhere.

Just moved around a lot growing up.

- That must have been rough as a kid.

- You get used to it.

You meet new people, learn new things, I guess.

It becomes a cycle.

- Mmm.

I can imagine.

- So, are you from around here?

- Yeah.

Yep.

Born and raised.

- What's that like?

- What?

- Having a place to call home.

- It's exhausting, you know.

Same dumb people.

Same dumb drama.

It's... - Why don't you just leave?

(Shea scoffs) - Looks like we're here.

Casey!

Let me just save my number in your phone.

You know, that way you can call or text if you need anything.

- Yeah, yeah, sure.

(gentle acoustic music) - Thanks.

- Yeah.

- See you around, Shea.

(gentle acoustic music) (engine rumbles) Shea!

Shea!

- What's wrong?

- They're all, they're all booked up for the weekend.

I hate to ask this, but is there anywhere else you can take me?

Yeah, I just need a place to stay tonight.

- Yeah.

Yeah, of course.

Hop in.

(car door opens and closes) You can stay in here.

- Is this your place?

- Yeah.

- You really don't have to do that.

- Bathroom's right next to you.

You can use towels, soap, the whole thing.

Come on.

- Thanks.

- Yeah.

(gentle acoustic music) (water splashing) - [Shea] I have a (censored) friend over.

Is it really that big of a (censored) deal?

- [Logan] Well, you're probably sleeping with her, too.

- [Shea] What the (censored) are you talking about, sleeping with her?

Are you stupid?

She's a friend, you (censored) idiot!

By the way, I haven't been touched in a really long time, so.

What, have you?

- Classic Shea.

- Have you?

I asked you a question.

I said, have you?

Can you look at me in the eye when you speak?

I said, have you?

(phone ringing) - You're ridiculous.

- [Shea] What the (censored) do I do?

You're the one that just stands there and gets me pissed!

- [Logan] Don't act dumb.

(gentle acoustic music) (water splashing) (door squeaks and closes) - Morning.

- I told you I'm not coming back.

Excuse me?

How can you even say that to your own... - There's a diner up the road we could go to.

- Stop calling me, Mom.

- One of 'em should know.

- Cool.

Yeah.

Let's go.

- [Shea] So what do you think?

- [Casey] This is definitely not a diner.

(Shea chuckles) - Perceptive.

Notice anything else?

- Um, grass.

Cow shit.

- I used to come here all the time when I was a kid.

It's calming.

You know?

The silence.

You can actually hear yourself think for once.

- What if you don't wanna hear yourself think?

Then what?

- Then I think it's time you figure out why.

Let it out.

- Let what out?

(Shea screams) What are you doing?

- It feels good.

Try it.

Come on.

- No, no.

- Come on!

- You're crazy.

(Shea screams) (Casey chuckles) - Come on.

(Casey screams lazily) No, bullshit.

A good one.

Nice and loud like from the gut.

- The gut?

- Yeah.

- All right.

I'll give you gut.

- Okay.

(Casey screams) - Wow.

Surprised me there.

Not bad.

- All right, it did feel a little good.

- It felt good, right?

You okay?

- Yeah, I'm fine.

- I just can't tell if you're running towards something or running away.

- I don't know.

Just gotta keep moving forward.

Get to Arizona.

That's it.

(Shea sighs) - You're strong, Casey.

Stronger than I could ever be.

- You're a lot stronger than you think.

- Come on.

Hi.

Will you stop it?

- [Logan] What is she still doing here?

- It's fine.

Relax.

(silverware clattering) There's the salad.

(Casey chuckles nervously) - Thanks.

- Logan.

- If you have a question, you can ask it.

- How exactly, uh, how do y'all two know each other again?

- Summer camp.

Lake Kosha.

When was that, like, middle school?

- Yeah, I don't recall you ever mentioning a summer camp before.

- You don't recall a lot of things about my life, Logan.

So what's your point?

- [Logan] My point is, you have a stranger in my home.

- Your home?

- Yeah, my home.

- Your home?

This is my home.

Can you just calm down and eat?

- Yeah?

- Yeah.

- [Logan] All right.

What are you gonna do about it then?

- [Shea] Are you serious?

- Yeah.

It's okay.

- [Shea] What's wrong with you?

Stop.

- What are you gonna do?

What are you gonna do?

- Logan!

- What are you gonna do?

- Stop!

- Hey, enough!

- Can you stop?

(Logan laughs) - Are you serious?

- Yeah.

- [Logan] Maybe you're not that bad.

- [Shea] Okay, Logan.

- [Logan] I kind of like her.

- [Shea] Logan.

(Shea sighs) Did you try my potatoes?

- I didn't really get to it.

(Shea sniffling) - Excuse me.

(Shea crying) (insects chirping) - Oh, I can put this out if it bothers you.

- No, you're fine.

Are you okay?

- Yeah, of course.

How was your food?

- Shea, come on.

- It's complicated.

You get to see your dad soon.

That's exciting.

- My dad's dead.

- What?

But aren't you going to Arizona to see him?

- No, yeah.

I mean, yeah, I'm going, but he's there, he's buried there.

- You ready for that?

- Yeah, I am.

He always made me feel safe.

So it's time for a fresh start.

- A fresh start would be nice.

- There's nothing stopping you, you know.

(Shea chuckles) - Not all of us can run from our problems.

- Maybe some of us should.

- Hypothetically, if I did wanna start fresh, how?

- You just gotta do it.

Keep moving forward and, yeah.

You know, hypothetically.

- Right.

(Shea sniffling) (gentle acoustic music) - [Casey] Thanks.

(gentle acoustic music) - You have my number.

- Yes.

- Good luck with everything.

- You too.

(gentle acoustic music) (gentle acoustic music) - I should probably- - Yeah.

- Take care.

(gentle acoustic music) (gentle acoustic music) - Hello, I'm Jono Mitchell and I am here with Mya Morton, the writer and director of "The Traveler."

"The Traveler" was a official selection of the 2021 Out on Film Film Festival.

Hello, Mya.

- Hi.

- Tell us about "The Traveler."

So "The Traveler" is about a young lady, Casey Jones.

She is en route to go to Arizona to reconnect with a loved one.

In that journey, she ends up, her car end up breaking down, and she runs into Shea Michaels.

Shea Michaels, they, she kind of takes her in.

They're, you know, they create a little friendship and she's just trying to help her on the next, the next bit of her journey while she's in town.

And they realize that they have a lot more in common than they realized.

And, you know, you could say that sexual tensions arise from that.

But the film is not about, it's not about finding one's sexuality.

It's not about, it's not about coming outta the closet.

It's not about anything like that.

We're just trying to normalize queer characters in general and showcase breaking toxic lifestyles.

And we see that through, we see that through Shea's character.

She is in a very toxic situation with her boyfriend.

And Casey, she is also trying to leave a very toxic situation with her mother.

- What, have you?

- Classic Shea.

- I just asked you a (censored) question.

I said, have you?

Can you look at me in the eye when you speak?

I said, have you?

(phone ringing) - You're ridiculous.

- [Shea] What do I do?

You're the one that just stands there and gets me pissed!

- [Logan] Don't act dumb.

(gentle acoustic music) - I'm really interested to know what ideas sort of inspire you.

- So for that project in particular I was really battling with the idea of we meet people for a reason, a season, or a lifetime.

- Mmhmm.

- In this particular film, they are meeting for a reason.

And that was just something that, in my life at the time, that you know I was kind of going through and I wanted to have a film about emotional growth and normalization for Queers.

- How do you translate those personal experiences you have into a film like "The Traveler".

- Yeah it was very difficult.

I actually went through three other films, that I wrote and fully you know, did the production binder for and everything.

And I was just like, this isn't it, this isn't it.

And finally I landed on something, just a feeling of isolation is really what I was just trying to capture with this project and I was trying to just figure out all right, how do we do this?

Especially with the things that we have access to, and you know, the resources that we have.

And thankfully I was able to come out with this, with the reason, season, or a lifetime.

- So talking about the story itself in "The Traveler", you know, you mentioned this up top, but the story is not explicitly Queer.

- Yeah.

- It is not explicitly stated that you know, it's Queer.

It's about this relationship between your two characters.

There's a lot of sapphic yearning, there's a lot of sexual tension.

So tell me, how does Queerness inform the story, specifically in that relationship?

- For that, I was trying to be very intentional with, I just wanted it to be about the characters.

Not about their sexuality at all.

And I feel like if the point of the story is for people to just come in and out of each other's lives, unless it's some sort of fairytale, you're not gonna end up with them.

And, you know, in the situation of the film, one of the characters is already in a relationship.

So there's not much that really can be done at that point.

They're only in each other's lives for maybe two, three days.

So, I just felt that it was the most natural to just have it where they're just, you know, regularly communicating.

They don't even necessarily communicate about the sexual tension, but it is felt.

And I think, depending on the mindset of the audience, they will be able to either notice it or not notice it.

And which is completely okay for me.

Cause it's just, whatever world you're presently in while watching this.

- For this film, where did you do principal photography?

- We filmed in Monroe, Georgia.

- Where is that?

- That is not too far from Conyers.

- Oh.

- It's a little bit further than Conyers in Loganville I wanna say.

But it is East of Atlanta, about an hour.

- How many days did it take to shoot?

- Four days, I believe.

- As you assess what audience's take away, what do you hope they take away from it?

- I hope they take away emotional growth, breaking toxic cycles, and just normalization of Queer content in general.

- If you could define your place in Queer Cinema, how would you define it?

- I want to be able to tell the stories of people that are unheard, people that feel isolated.

And I just want to be a source of entertainment for, (sighs), for all types of films.

But I just feel like the Queer community within cinema is so strong, in the sense of whenever there is a Queer character in a TV show or in a movie, you will find a plethora of Stan fans (laughs) that are clearly just so hungry for the content.

And just, you know, you'll see it on YouTube.

There'll be little short films that you know, they'll have millions of views because there's not a lot of representation, at all, for authentic Queer stories.

- Because when you're starved for content, a crumb can feel like a feast, right?

- Mhm.

- Like you see these Queer characters.

- Yep.

- And you're like, well this is all I've seen.

It's the only time I've ever seen myself reflected in this way.

- Exactly, exactly.

- So what's next for you?

- I'm just trying to push out more content.

I direct and do cinematography, so you know, just trying to get bigger gigs to get more exposure and just hopefully tell the stories that I'm trying to tell.

(film whirs) (beeps) - A pregnancy and the prospect of parenthood can be a daunting challenge for anyone, even when planned.

But faced with a surprise, first-time pregnancy, a trans couple of color wrestles with how the new baby will effect their relationship and how they should raise their child in a binary world.

This is "Pink and Blue", from Kaydx.

(film whirs) (beeps) (splashing sound) (sighs) ♪ Oh no, no, no ♪ ♪ So did they say goodbye that you used to ♪ ♪ No no no no ♪ (water splashes) (mellow music) ♪ Baby we goin' back to Eden ♪ ♪ We ain't gotta take a plan ♪ ♪ Let's be naked ♪ ♪ Unashamed for the wind and the rain on our being ♪ ♪ And you ain't gotta be afraid ♪ ♪ I just tryna show a way to a place ♪ ♪ Leave your bags, leave your clothes, leave your shoes ♪ ♪ Get your heart, we'll groove on the way ♪ ♪ Can't lose if we straight ♪ ♪ Can't move if you let that weight change the way... ♪ - But how did this happen Armani?

I thought your hormones kept- - I don't know Crea.

- Baby I love that you stress bake, but we gotta decide.

- You're two years away from being debt-free.

- I know, but we might not get another chance like this.

I mean, IVF and IUI are dope but we can't afford that anytime soon.

- If I get my CPA license this year, I can push for a promotion at the firm.

You can apply for another art residency.

- Armani, I will do whatever it takes.

What does your heart say?

- I want to raise this baby.

Gender free.

(mellow music) (Crea exhales) (mellow music) (mellow music) (door opens) (mellow music) Ugh.

Another baby gender ask postcard from my parents.

Hm.

(sighs) I know.

I'll call them tomorrow.

- It'll all be worth it when the little one comes.

Oh, I have a gift for you.

- Oh.

(paper crinkles) It's pink.

We said we would do things different.

- I know, but it was on sale.

- I need to nap.

- Why haven't you brought home anything for the baby?

It's not too late to put the baby up for adoption.

- Is that what you want?

- I want our baby to come into this world and know that we were ready.

I can't be the only one trying to make a home for her.

- Her?

- Them.

- Did you get the results?

- What?

- The baby's sex, did you get the results?

- Are you serious?

(footsteps thud) (door closes) (gentle music) (gentle music) (baby cries) (gentle music continues) (baby cries) (gentle music continues) (gentle music continues) (woman sighs) (woman groans gently) - You okay?

- I have no idea what I'm doing.

First baby, 16 weeks.

- Little secret, nobody does.

Not even my Libra sun, moon, and rising wife.

Baby number three, 32 weeks.

I'm Lin.

My name is my pronoun.

- Crea, she or they.

You live here?

- Yeah.

I have to show an apartment, but you should take my number.

I'd love to support you.

- Thanks.

- Yeah.

(balloon pops) (lighter clicks) - I am so sorry for misgendering our baby.

I'm gonna do better.

Because there is no one I would rather go on this journey with than you.

- I don't care what colors we buy or what sex our baby is assigned.

Every time I think of our baby I think of little me.

So scared to be in a world where people don't see me like I see me.

- We are going to love our child however they are.

We're gonna build the world we wanna see, right here.

For us.

For them.

(gentle uplifting music) - Aw.

(gentle uplifting music) Okay.

(Crea laughs) (Armani laughs) (gentle uplifting music) (gentle uplifting music) - [Crea] Where are we gonna put all this?

- We'll find the room.

(gentle uplifting music) (gentle uplifting music) What do you think of Dilmah and Mahpa?

(gentle uplifting music) (gentle uplifting music) (bed creaks) I gotta go to work.

- Hmm.

(phone rings) - [Armani] Hey.

- Oh hi.

Did you and Dilmah get our package?

- Oh yes.

Open it.

Oh.

Baby will love this, thank you.

- So cute.

(Crea farts) - Oops.

Sounds like you're gonna have a healthy baby.

- Yeah, we could name Zer Fartana Cruz Maddon.

- Oh?

Not Fartana Maddon Cruz?

- Nah, Fartana Moose.

(both laugh) (gentle music) - Not a moose?

- No, no, no, a human baby.

- If there's anything more you want for the baby, we're here.

We got lots of things we wanna send you.

- Oh my goodness.

- Oh, thank you.

- [Crea] You are so incredible.

- [Armani] You've done so much already.

- [Mum] I got my sewing machine.

- Oh!

- I mean, I kinda do wanna see a creation.

Something new.

- Yes.

I like to paint, I could go and paint a mural on your baby's bed.

- Oh!

- Can you actually?

We'll get all the paint and everything, okay?

- [Crea] Yeah, I have plenty of art supplies.

- [Mum] That's what we don't have to help.

- I love the new paint.

(gentle music) - I'm Jono Mitchell, and I am here with Kaydx the writer, producer, and star of "Pink & Blue", an official selection of the 2021 Out On Film, Film Festival.

Kaydx, thank you so much for being here.

- Absolutely.

Thanks for having me.

- Tell me about "Pink & Blue".

- Pink and Blue is a short film about a trans couple of color that struggles to raise an unexpected child, gender free in a gendered world.

- So you made "Pink & Blue" during the pandemic?

- We sure did.

November, 2020.

- November of 2020?

Talk about that experience.

What is it like being an independent filmmaker, with limited resources and funds?

Doing something at a time where everything calls for excessive resources and funds?

- Right, yeah.

Well, I knew that in telling this story I just had to.

And I knew that no matter what, brand new pandemic or not, I was going to get this story told.

And I think that was what was driving me.

And also that so many trans kids of color are committing suicide.

I wanted to create a film that would give life.

And so, knowing that the pandemic was literally taking lives away over and over and over before us, I wanted to gift something to community that would be like, this is this world that we've created, it might not look like what we have going on, and what we have going on right now, but it is attainable, it is achievable.

And the only way that, that can be seen is when it's shown.

- But as you've talked about writing, what was the process like, writing "Pink & Blue"?

- Yeah, it was a lengthy process.

It took a couple of years and then as you know, being a filmmaker, you're still writing up till the end of the edit process.

There's still lines being changed.

And then for the pandemic, we actually had to cut an entire location, a couple of weeks before we were going to shoot.

And we also had to...

I had to rewrite one of the major story arcs.

So, I'd say that the writing process has been present, it has moved as the times have moved.

But also, what's been really important is that, because we cast people who had the identities of the characters in the film there were readings and feedbacks, emails back and forth from community and our actors and our cast.

And so, I really felt like the writing process...

It wasn't just me sitting alone in a room.

It was not only just living life, but also taking in people's true experiences.

- So, from concept to release, how long was the full process?

- I'm going to say three or four years.

- So what a lot of people don't know, I think, that are outside the film community is that, this is a lengthy process beginning to end.

It's not like, "Hey, I wrote something, we're gonna shoot it next week."

You put time and effort and energy into it.

So, when you sat down with "Pink & Blue", what about that particular idea called to you to say, "I am willing to spend the next four years of my life on this?"

- Yeah, I gotta say, I didn't know it was going to be four years.

I knew it would be long, but in the life of a short, it could usually go to about two or or three.

It's just that this story is so important to me to get to as many community members as possible, because I understand what my community is lacking.

And for a lot of us that is safe space, safe community, and family.

It is that unconditional love, that family who is dedicated to growth and healing and therapy, right?

That is willing to continually check and make sure that they're harming and when they have harmed, that they're being accountable and acknowledging, apologizing, reparations.

That process isn't really...

It's not something that a lot of humans, I think in general have, but also is really lacking because queer and trans people, specifically that this film and trans people of color are lacking, that systemically...

They're lacking that in society and that folds into our families.

So, that's what's kept me going is, I just know because I've lived it, that my community needs to see this and that there is healing to be found in this film.

- I am so sorry for misgendering our baby.

I'm gonna do better because there is no one I would rather go on this journey with than you.

- So in the course of this conversation, what I really love hearing you speak about "Pink & Blue", is that you've taken something like parenthood, which is a universal concept, and put it against something that's very niche, as you've said, for your community to build that out.

So, can you talk a little bit about the unique challenges that Crea and Armani face in the film, as it relates to the universal experience of parenthood?

- Yeah, it's gonna be interesting, the way I answered this question because it's actually what's not shown.

- [Jono] Yeah.

- [Kaydx] What's not shown is that a lot of trans people of color are afraid to go outside every day because the murder rates for our community and specifically trans-femm's of color and indigenous people of color, two spirit people are so high.

And that is a fear that we have every day, the trauma of misgendering, gender trauma, medical trauma.

All of these things are weighing on us daily, and yet we're still going out there and trying to live the best life that we possibly can.

I feel like that is what... Yeah, that is what sticks out to me as one of the most important things that's underneath the film, but we're not showing it because as an Afro-futurist storyteller, who honors the past, the present, and the future, I wanted to create this piece as, "What can our society be?

"What can our future look like?

What can a safe environment look like?"

So yeah.

- Thanks.

Thank you so much for being here today.

- Thanks.

- Coming out is a complex and nuanced choice.

The prospect of losing those who love you is a fear often found in the heart of the decision.

Still, for many, the freedom to live your truth is worth the risk.

In Patrick Seda's, "Reverend Falls", a preacher grapples with this choice, does he come out and be free or stay hidden and live a life in silence?

This is "Reverend Falls".

(film projector clicking) (beeping) (violin orchestral music) (violin orchestral music) (footsteps) (sirens in the distance) - So have you seen it?

- Yeah, finally caught the late showing.

- Okay, I have to ask you, did you figure out the title?

- Yeah, it's about those rednecks at the competition.

I mean, did you see all their tattoos and the camouflage?

Ew!

- No, no, no.

That's what you're supposed to think, but it's actually referring to him and his mother.

Do you remember when he describes her red sunburned neck?

- Anna!

Whoa, I didn't even catch that.

(Anna humming in agreement) - Oh my God.

Oh my God.

Oh my God.

Bradley look, it's Reverend Gary.

- Gary, Gary.

- Oh my gosh.

- Hey, can we please get a photo?

- Yeah, of course.

- It's really quick, okay.

(excited giggling) (music playing from a phone) (laughter) (camera snapping) - It's good.

- Oh my gosh.

Thank you so much.

- Yeah, thank you.

So nice to meet you both.

(gasps and excited giggling) - Like, Reverend?

I can't believe we like, just saw him.

Oh my God.

- Oh my God.

Let me see the pictures.

- So, I'm waiting and I'm waiting.

And then I look at my list again and then she finally comes in, her face is full of these piercings, colorful neck tattoo.

I mean, this girl looked cool, had a good feeling about her.

I look at her and I say, "What's your thing?"

She says, "Cupcakes."

So that didn't really work out, but that's not what you asked me.

Everything's going great.

Oh, I've got some good news to share.

- Really what?

- We are gonna open up a new location.

- Really, another Connor Falls?

(humming in agreement) That's great.

- It is.

And this one is going to be bigger.

- Bigger than River Front?

- Right!

- How on earth you do that?

- Quiz, what kind of location do you have, where everyone expenses their meals back to corporate?

- Conferences?

- Bingo, conferences, business trips, hotels.

Next summer, Connor Falls, downtown at the Rose.

- The Rose?

- Yes.

- Beautiful, I've spoken there.

They're busy every day of the year.

- Exactly.

(quiet laughing) Congratulations.

You both really are amazing.

And I couldn't be happier for your success.

And I thought you were famous before.

This is truly a blessing.

Did you just say famous?

Famous?

I think that word is reserved for you, my friend.

It's crazy how much of this celebrity that you've become.

- Well, it's-- - So famous.

- I guess, an unexpected side effect.

Society must be...

I must bring some type of enlightenment.

You know, it must be a theme people are wanting to welcome into their lives.

- They just like the action, man.

It's the suspense, it's the voyeurism into competition.

That's what gets you those million video hits.

It's a voyeurism, not enlightenment.

So how do you do it, hmm?

You're like this unbreakable, towering Adonis, so calm, so composed.

You handle every single thing that they throw at you.

And that's tough.

So how do you own them so hard?

I mean, the secularist usually crush it, but not against you.

- Yeah.

The key is being prepared and not just knowing the Bible by heart, but by knowing your opponent.

And I say opponent loosely because it implies a zero sum competition.

But in religious debates, nobody actually wins.

Well, somebody will perform better than the other person and their supporters will claim the win.

Regardless, you have to understand that the other person feels so strongly about their position, they're so passionate that in the end, and this means both sides, nobody's going to change.

But if you understand how the other side thinks, how well they grok their position, how they're gonna present their logical arguments, then you can customize your approach.

And ultimately, have the better debate performance.

So how do I do it?

I've studied for years.

I know the Bible, of course, but I also know the logical fallacies that are the plague of religious argument.

They're hardwired in me.

- Gotta say, I love watching you perform.

It is intense.

- Kind of fun.

- Yes, it is for me too.

I admit, I have fun with it.

While we're on the subject, I wanted to talk to you about something, something personal from the past.

- Yeah, yeah, of course.

You can talk to us about anything.

- Do you remember, Connie, attending mass at old Saint Pat's?

- Of course.

I remember every single second of it.

Ya stand up and you sit back down, you stand up again you sing some songs, get communion.

Sit back down.

Stare at my watch every five seconds.

Nope.

Still not over yet.

Oh, it's death.

- All that time.

I sat there looking up, at the beautiful intricate carvings of the woodwork, carefully planned out patterns, to keep your eyes drawn towards heaven.

Statues of muscular men, partially covered in flowing robes.

It's almost as if they teased us.

Something that you want, something that you want to be, but you can't reach.

And your gaze can't fully see.

Every week, eyes drawn towards heaven, staring up at all this beauty, exactly what they wanted in my eyes, but not feeling the limitations they wanted in my soul.

(soft orchestral music) I understood the church's message about sins, but I was never confused about my true orientation.

I may have had all the spotlight, the trophies, the six inch height advantage-- - Four.

- But I've always looked up to you, Connie, I'm serious.

You didn't care about the expectations and the confines of the norm.

No constraints.

You were the free spirit.

But what I saw and loved about you was that your spirit was free, unlike mine.

(classical music playing) - I've been living a lie, enduring tremendous hardship under its weight, and I'm ready to free my spirit as well.

- No effing way.

I knew it.

I knew it.

- So long, Connie.

- Surprise.

- Awesome, holy.

Wait, do you know what this is gonna do with your followers, with the congregation?

I mean, this is whole new celebrity mixed with faith is just, it's a whole different new thing.

Wait, this is, this is not gonna go over well.

I mean, all of the people that are glued to your debate videos, I mean, they're gonna be crushed.

Wait, maybe they won't be.

You know, you've got some intelligent fans there.

- I've thought through the consequences, the best I can foresee, I mean, I openly welcome them all.

But you know what the hardest part is?

Wonder what mom would've thought.

- She, she would hate it, of course.

She would emotionally detach from you and leave you abandoned.

I mean, how could you do this to her?

Deviate away from the Word of God.

But she was old-fashioned, man.

Brick by brick, you keep on adding up more guilt on top of the crushing disappointment.

But you know what happens?

Once you've committed, and truly committed, every brick that kept weighing you down just becomes another brick that makes you stronger.

And all this weight, you carry it just fine.

Until one day you realize you're not carrying anything anymore.

You've become... you, and you've finally let your spirit free.

You know, you're gonna love this new you.

- Hmm.

Yeah, just need to finally love me.

- [Flea] So beautiful.

- So have you thought about how you're going to do it?

How you're going to announce?

- I think the most cogent way is through my weekly newsletter to the congregation.

Just be truthful, honest, like a good child of God would be.

I'll just send it, wait for a flood of malevolent responses, and I'll welcome them, and then, I'll forgive them and move on.

- Man, you're gonna get a flood of support.

You know that.

- Those hypocrites.

- Especially from the younger members, the ones that have the much more wide open minds.

- Yeah.

Yeah, I think you're right.

You're both right.

Connor, Flea.

I love you guys.

You've helped more than you know.

- Fish.

- Mm-hmm.

- Did you know there are zero good seafood places near the rose?

I mean, everybody wants to pay for an overpriced juicy steak, but overpriced fish?

Gold mine.

And I will not teach those men to fish.

Oh, so the next guy comes in.

This guy, no tattoos on him.

Real nerdy, has on these glasses, has on a bowie and pike.

And I ask him, what's your thing?

(laughs) And he says to me, behind these glasses, when I'm not swimming with sharks, I'm filleting them.

- Mm.

- Hired, on the spot.

I said, Flea, go get this man a uniform.

(classical music playing) (door squeaks) (classical music playing) - [Woman] Oh my God.

(people cheering) So cool.

- [Man] It was all worth it.

(classical music) (classical music) (heartbeat thumping) (upbeat music) - I'm Jono Mitchell, and I am here with Patrick Seda, writer and director of "Reverend Falls," an official selection of the 2021 Out On Film film festival.

Patrick, thank you so much for being here.

- Thank you for having me.

- As you look at "Reverend Falls," and your sort of body of work, can you tell me a little bit about what certain things inspire you, and inspire the ideas you have?

- I really like to make sure that I have a good theme.

So the theme of this film is probably courage, masked around, you know, some subtext, and some story twists and things.

But, really that's the theme of it.

So I try to make sure that, thematically, everything carries through.

Even if when you're watching it, it might seem insignificant, maybe on a second or third watch through, you can say, that was an important part, and I missed it.

So keeping thematic details, and keeping them in line, and perhaps just hidden enough is probably one thing I strive for.

- I understood the church's message about sins, but I was never confused about my true orientation.

I may have had all the spotlight, the trophies, the six inch height advantage.

- Four.

- But I've always looked up to you, Connie.

- So I want to talk about, specifically, the queerness of the film.

Because the film is not inherently queer, correct?

- Correct.

- It is suggestively queer.

- Mm-hmm.

- So, and spoiler alert to everybody, you know, the big coming out is that Bill Barrett, who plays a reverend, is atheist.

- [Patrick] Correct.

- So I would love to know a little bit about your thought process, and, what inspired you to sort of make that comparison to, you know, queerness and atheism.

- Thank you for noticing.

- Mm-hmm.

- If you don't watch the film up to the last 10 seconds, you might not catch the twist.

- That's why I said spoiler alert.

I gave you, everyone watching, I gave you a warning.

- So the seed of the film is, I was watching some religious debates.

Atheists, and you know, religious folks.

Christians, I believe.

And upon watching it, I felt that it would, the logic and the dominance of the conversation would go to the atheists.

They just seemed to control it, in my opinion.

So I said, well, what if, what if there was a situation where it wasn't that way?

There was a guy who could dominate the conversation.

He's on the Christian side.

And I thought, he would have to be a closet atheist.

He would have to, he would have to know his opponent so well that he would have to be a closet atheist.

So, what if he wanted to not pretend to be Christian anymore, and just come out as an atheist?

It's a much more open, vocal, friction, social friction group to be atheist.

And what if he's just tired of being the good boy, and he just wants to let go?

So that was kind of the getting to the coming out to atheism.

But I wanted to respect the context of the community that these two guys live in.

One's a successful chef, and the other guy is this world traveler who knows at least three languages.

And, it just sets the tone for them living in this world, but it's not over the top, and there's no rainbow flags hanging everywhere to announce, ha ha, look at these guys.

You know, we're, you know, flamboyant.

They're flamboyant in their own normal way of who they are, and they don't have to be over the top.

Which, I have seen some films that really try to do that.

And I personally don't like that.

- So just sort of as a follow up to that, what would you tell individuals who might have contentious feelings about you, a straight man, using this as a narrative device?

- I thought about it later, well, maybe I could have, you know chosen some other actors that are in the community that I could bring in.

And, I certainly could have found some.

But the momentum was going so strong, that we went with who we had.

It was their part, written for them.

And, you know, we were ready to shoot before I started thinking about it.

So, I would welcome that, and I would admit to being guilty that I probably could have done it differently, and more, like I said, I was trying to be respectful of the community, but perhaps I could have been more respectful.

- So what is your experience filming in Atlanta, and can you explain a little bit about your connection to the city?

- We wanna do things right.

We, you know, interact with the film department, we interact with, you know, police departments, and traffic control, and all the proper things.

So, it's been very good with that.

But to me, I think the biggest positive experience has been the culture of the folks that I'm meeting, and eventually working with.

So, acting crews, acting teachers, the experience for me is very positive, very exciting for projects that I want to do.

I love it, I love Atlanta.

- What do you hope people take away from the film?

- The theme is courage.

So, you know, the main character, you know, he was the golden child, and the brother, Connor, was kind of the outcast, the one that that mother just said, you know, you're a disgrace.

You should be like, you know, Gary, the reverend.

So he has, you know, kept up the golden child, he's the pretty boy, he's the muscular guy.

He was the athlete, you know.

So there's this kind of this competition, implied competition growing up, assuming that the mother has died, that he has kept it up past that times where he didn't need to.

But the the momentum of this act has finally tired him out.

And he's like, I want to change, but, I need to, you know get counsel from someone who has been through this.

Maybe I'm not strong enough.

Maybe I am, maybe I'm not.

He talks to his brother and he says, how did it go for you?

What are the problems?

What would mom have thought?

And then, you know, and then the brother says, it's pain.

It's painful.

But in the end, you'll be glad you did it, and you will love the new you.

That's kind of the message that I would want people to get from it, is, this is something you can do, and it will be difficult at first, but in the end, you'll be glad.

- Yeah, live your truth, be yourself.

- Correct.

- 100%.

- Awesome.

- Well, Patrick, thank you so much for talking to me today.

Make sure that you check out "Reverend Falls," wonderful short film.

Thank you again.

Follow Patrick and Saturn Moon Beach on social.

See you soon.

(projector running) (beep) There are so many ways in which we interact with the world around us as queer filmmakers.

With our work, we distill the complex aspects of our lives into bite-size moments to share our collective experience.

And in doing so, raise society's awareness of who we are.

In our next installment of Atlanta On Film, we'll take a hard look at what it can mean to grow apart from friends, and then take a fun trip through time to an era of entertainment in Atlanta that set the stage for legends to be made.

I'm Jono Mitchell.

I'll see you next week.

(soft upbeat music)