Always and Forever, 22min., USA
Directed by Johnny Thames
An obsessive, controlling teenager kidnaps her boyfriend to play a bizarre, self destructive game. But things become complicated when the boy demands a stop. The film comments on how trauma if not confronted and resolved will lead to co-dependent and potentially destructive results, while providing enough empathy toward accountability.

https://www.instagram.com/alwaysnforever_film

Get to know the filmmaker:

1. What motivated you to make this film?

In all honesty, it was a couple of things: the main reason was the way we perceive trauma survivors and the way media depicts these types of stories. We either view them as calm and composed or emotional messes.

Additionally, many stories often depict survivors as infantilized victims needing help or as inherent monsters. The point of the film was to show it’s not black and white, it’s usually somewhere in the middle of all of this.

2. From the idea to the finished product, how long did it take for you to make this film?

From development to post-production, about a year and a half on and off.

3. How would you describe your film in two words!?

Empathetic critique

4. What was the biggest obstacle you faced in completing this film?

The biggest obstacle was the casting of Jennifer Baufour as Janice: When I first saw her tape, it stood out to me; I thought she understood the character, so I opted to cast her. The only issue was that the role wasn’t fully realized.

In response, I wrote the epilogue that plays over the credits, leaning into the nuance the film was going for. Writing the monologue was almost instantaneous, showcasing a woman who had gone through the effects of unresolved trauma and was now trying to make up for the consequences while being the parent she should’ve been years ago.

5. What were your initial reactions when watching the audience talking about your film in the feedback video?

I was ecstatic to see people recognize the themes of the film, yet also surprised that people didn’t realize that Sarah had taken the first step toward breaking the cycle of abuse. When she breaks the mirror, she makes a conscious choice to not be like her mother and accept how her actions impact others. While she won’t have any children, she has the chance to heal after years of holding on to her trauma while simultaneously denying its impact on her.

6. When did you realize that you wanted to make films?

When I was a kid. I was obsessed with movies, specifically Spielberg and old Disney films. Instantaneously, I wanted to be a director, though I did diversify into theatre (and take a break from filmmaking) after realizing how strenuous it could be. However, it always stuck with me: In middle school, I was writing scripts and wanting to direct plays. As a teenager, I would spend hours writing (thankfully) unrealized materials for film and theatre.

7. What film have you seen the most in your life?

Blazing Saddles, The Producers, Hundreds of Beavers, The End of Evangelion, Man of La Mancha, and Peter Pan

8. What other elements of the festival experience can we and other festivals implement to satisfy you and help you further your filmmaking career?

Following the screenings, I think it would be interesting to have the filmmakers answer any questions audience members have in a follow-up video. This would show how each filmmaker interacts with their audience and build camaraderie and community.

9. You submitted to the festival via FilmFreeway. How has your experiences been working on the festival platform site?

Pretty easy, I’ve been using the site both as a former programmer for The Syracuse International Film Festival (shout out to Michelle DiBernardo for being an amazing boss!) and as a filmmaker for about seven months now. There was a bit of a learning curve from a programming perspective, but overall, using the site has been like shopping on Amazon.

10. What is your favorite meal?

Pad Thai, Porkchops, Salmon.

11. What is next for you? A new film?

Quite a lot! I’m currently a casting director for a feature film and two MFA Thesis Films for my producer, Luisa Bott.

I’m also founding a film studio with Luisa, Anthony Cuomo, and Ying Su, in preproduction on a fantasy short about a young girl who finds herself in a magical world of discourse and in development on a surreal satirical dark comedy-drama feature.