apolitical

A celebratory dinner party unravels when the guests find out the host doesn't follow the news.

Directors Statement

I had a problem—I used to spend hours reading the news, diving into domestic politics: crisis of democracy, Supreme Court briefs, even obscure primaries. I often wondered if life would be better without this constant news barrage. Amid this brain fried fog, I can't pinpoint what triggered me to write "Apolitical," but I do know that for a while I wanted to direct a dinner scene.

 But I wrote various scripts without luck: One draft had six people arguing about problematic artists, while another stemmed from a real incident: my partner and I aiding a strung-out person on the sidewalk, struggling to communicate. This sparked thoughts on relationships crumbling over differing views on responsibility.

Threads from the failed drafts eventually merged to form "Apolitical."  Capturing my core intent to direct a dinner scene but now clarified with themes of someone actually believing in direct action versus someone who is the keeper of their own ambition. And using not reading the news happened to be the catalyst to getting into it.

 The characters in "Apolitical," are honestly like snippets of the conversations I wrestle with in my mind. Their back-and-forths mirror my sleepless nights, perpetual overthinking: better the world vs. the daily to-do list, action vs. indifference.

 I'm hoping the audience will be drawn into Apolitical’s moments of heated discussions and quiet subtexts, feeling like they're eavesdropping on a genuine interaction. As they watch the characters argue about responsibility, art's purpose, and personal values, I’m curious if they start thinking about their own beliefs, maybe even sparking some spicy post-screening conversations.

 I’ll be grateful if an audience sees themselves in these characters – whether it's the passion of Alex, the indifference of Morgan, or the healthy skepticism of Lenni and Casey. That relatability, that "I've been there" feeling, is what I'm excited to offer up. And of course, I hope they find it as funny as I do.

I believe—and my production company OHH MAYBE commits to this belief—that cast, crew and productions must be diverse and equitable.

Though this was a small budget short film with a two-day shoot schedule, everyone on set from performer to PA was compensated. 

 As an actor I have experienced the humiliation of more money being spent on props than the living breathing human beings performing. As a production assistant I have spent hours on a set where the filmmaker used his privilege to spend thousands on renting camera gear but could only offer the crew a meal and an IMDB credit. Those memories and experiences are painful (and I imagine, unfortunately, shared by many).

 So though I might not experience the benefit of moving fast, producing quick, and expecting free labor like some filmmakers do, I am willing to delay my artistic expression and growth if it means that everyone involved in my projects has the dignity of getting paid a respectful wage for their gifts, talents, and dreams.

Lastly, if the world is to benefit from diverse stories, we must begin by having the benefit of diverse crews. Or to paraphrase Cheryl Dunye’s blunt observation from the Hollywood Reporter’s “Own Your Narrative” summit, we need to keep looking at the other side of the lens to make sure that a set isn’t just “white dudes in shorts.”

To contribute to that spirit: I am grateful to most of the cast and crew for this production ranged from filmmakers of color to queer and non-binary or gender non-conforming artists.

DIVERSITY AND EQUITY