I DIDN’T LIKE YOU, 12min., USA
Directed by Parker Fenady
As Emilia and Maxine spy on their best friend’s first date, they come to realize the chemistry might not be between the couple they anticipated.
https://www.instagram.com/parkerfenady/
Get to know the filmmaker:
1. What motivated you to make this film?
For me, this story was always the one. It’s my opener—my “Hey, this is me. This is what I’m about” piece. Coming of age can feel electric, like you’re catching lightning in a bottle as you live it. This is a first love story—a rush in every sense of the word. More than that, it’s about all the little moments that once made you feel out of place, suddenly dissolving in an instant. It’s about the euphoria of finally feeling at home in your own skin, independent of anyone else’s opinions. That was this story for me.
At the same time, I was drawn to how naturally this story fit into the short film medium. That feeling of transience—of being thrown right into something before you’ve had time to make sense of it—mirrors the experience of coming of age itself. It rarely has a clear start or finish, and it’s almost never a clean break. The short form captures that immediacy, that fleeting intensity. And beyond that, it’s a fun movie. Bringing a little slice of fun into the world felt like a nobe idea.
2. From the idea to the finished product, how long did it take for you to make this film?
I originally wrote the script in the fall of 2022 as a scene from a feature I was developing at the time. But, as I worked on it, I realized this section stood on its own—it captured everything I was trying to build into the feature in a single, selfcontained moment. It didn’t need the extra scaffolding I was trying to give it.
That’s when I knew I wanted to pursue it as a short. It held such a special place in my heart, and I knew the right move was to hold on to it—to be patient and let the right moment find me. So, I put it down for a while.
After graduating in 2023, I was able to return to it with fresh eyes. Around that time, the team started coming together, almost serendipitously. Everything fell into place in a way I never could have planned—like all these moving parts aligning at exactly the right time, forming this beautiful mosaic to house this project.
Pre-production began in February 2024, and we started shooting on May 21st—my birthday—so in a very real sense, production felt like one big, sweet party. It was a two-day shoot. We spent the summer editing, and by late August, the film was ready for its final post-production elements. Of course, we’ve been finetuning since then, but I’d say it truly took its final form in the cut we locked this January.
3. How would you describe your film in two words!?
I’m going to have to plead: House Music, baby.
4. What was the biggest obstacle you faced in completing this film?
I think we faced remarkably few constraints, which is a huge testament to the work of the team—first and foremost, the producing team, the cast, and the crew.
The biggest challenge was the truly independent nature of the production. Our scope was tight, but that was never quite how we saw it. The culture on set was one of excitement and positivity—almost a sense of marvel at what we were able to accomplish within our parameters. Everything you see on screen exists because of the generosity and talent of people who truly believed in this project. That, in itself, feels like a massive accomplishment. It was always about the work, the script, and the story. The fact that this incredible team believed in it and invested their time and talent is something I’m deeply grateful for and humbled by.
5. What were your initial reactions when watching the audience talking about your film in the feedback video?
To be honest—it was completely surreal. We’re just starting to show the film to audiences beyond those directly involved, so seeing how it’s landing is incredible.
Watching people engage with the film in such an intimate way was so special. I never fully imagined this part of the process, so I’m just trying to stay present and take it as it comes.
When watching the audience feedback, I kept thinking: yes, girl, she gets it. She’s eating in her textual analysis. Seeing the audience pick up on the subtlety and layers beneath the surface was incredibly rewarding. It made me realize the impact of every small choice, bringing me right back to the edit. It’s a testament to all the unseen, often tedious collaborative work that went into it—work that wouldn’t have been possible without Luke, Cooper, and Alexis, who were with me every step of the way.
Working with Alexis, Katelyn, Yasmeen, and Nate was truly a masterclass for me as a director. They’re all so brilliant, talented, and dedicated. They are the heart of this project, each in their own way, and I’m just so excited to be able to honor and showcase their work. This is a performance-driven piece, and seeing them get their flowers makes me feel incredibly proud.
I can’t wait to release the original song—it’s been one of the most mind-bending parts of this process. Working with August and Maddy and hearing what it inspired in them was the first moment I said to myself, “Yes, we did the thing we set out to do.” They didn’t just capture a feeling—they translated it into a whole new medium, giving it a completely fresh life. The idea of art begetting art this way is invaluable to me. I’ve been jamming to it in my car for months, and I can’t wait to finally share it with everyone.
Honestly, I look back at the whole experience and marvel at the fact that so many brilliant creative minds lent themselves to this film, and still collaborated so generously.
So, yeah. To bring it back to the question—it’s deeply rewarding to see audiences connect with and fall for these people the way I have.
6. When did you realize that you wanted to make films?
Listen, I was a little girl with a flip camera and a dream — it never evaded me. I want my flip camera back. It’s really a question of how did I have the will to keep going after they were hastily discontinued in 2011. I still have mine, I’m still trying to bring her back. I want more for her than this little life.
7. What film have you seen the most in your life?
For the purposes of this exercise, I think I’ll say Bend it like Beckham. It’s a comfort film, I think it has intersectional thematic reach in the Parker cinematic universe.
8. What other elements of the festival experience can we and other festivals implement to satisfy you and help you further your filmmaking career?
Well, I’m simply at the tippy top of this process so I think you’re going to have to ask me again in six months.
9. You submitted to the festival via FilmFreeway. How has your experiences been working on the festival platform site?
It’s been honestly an excellent and seamless experience. I think FilmFreeway has done a great job making the submission process streamlined and, frankly, easy for filmmakers. As an independent filmmaker, I really appreciate platforms that help democratize the festival process, making it more navigable and inclusive. That kind of accessibility is invaluable, and I think it should be lauded as such.
10. What is your favorite meal?
Breakfast, duh. Beyond that? Not sure if we’re close like that yet.
11. What is next for you? A new film?
This short, I Didn’t Like You, is the first installment in a trilogy I’m creating that explores awakenings. Each film stands on its own, with distinct characters, styles, and subject matter, yet together, they form a cohesive journey—almost like watching two souls stretch around each other through space and time. While they can be experienced individually, as a body of work, they offer the fullest expression of this story. My hope is to tap into the layers of awakening that often go unseen—the fumbly moments in between who we are and who we’re becoming. I don’t want to give too much away just yet, but the next film in the trilogy is called Aftercare. To me, I think this is the most exciting, special thing
I’ve ever written.
