Rhode Island International Film Festival - The Painted Lady
The breakup from 60-year old painter JACOB takes the young stripper SAM on a nocturnal roller coaster that eventually sets her free.
Interview with Writer/Director Stephanie Bollag
Watch The Painted Lady here:
Congratulations! Why did you make your film?
I believe that the work we produce as artists is to a certain degree autobiographical. And even though I have yet to break into a lover’s apartment (as SAM does), I know what it feels like to be consumed by a man. In all my films to date, I explore assertive yet fragile female characters that ultimately succeed in taking charge of their emotions, bodies and destiny.
The story of ‘The Painted Lady’ is part reflection of my own journey to self-acceptance, part expression of our obsession with beauty. We all have an idea of how other people see and judge us. We want to please, be desired and loved. But what happens when life gives us lemons?
In the past, not hearing from a guy after a date would make me question my bodyweight. There was a lot of shame and insecurity. My stories tend to exhibit a degree of self-hate and masochism but their outcome is a positive one. Nothing is more liberating than finding your place in life and being at ease with who you are. In ‘The Painted Lady’, Sam goes through such a metamorphosis.
Imagine I’m a member of the audience. Why should I watch this film?
You should watch ‘The Painted Lady’ if you enjoy tender and sensual stories that stay with you long after you’ve finished watching.
How do personal and universal themes work in your film?
I believe that my sensibility and worldview come through in all my films. Identity, what it means to be a woman, body image, religion (especially Judaism, as I am Jewish) and (socio-economic and racial) minorities are all topics I scrutinize in my films. Whether it is a Jewish orthodox young woman (ARUMA), an African-American boxer (SHADOW BOXER) or a stripper (THE PAINTED LADY); all my films to date explore strong yet fragile females, who ultimately succeed in finding their voice or at least an outlet.
How have the script and film evolved over the course of their development and production?
I have yet to see the day that my film replicates the script’s final draft. In the case of ‘The Painted Lady’, the final cut strays quite a bit from the story on paper. After reviewing my footage, I knew the story was missing something. The lead actors’ relationship had not been established deeply enough. Why should the audience care for them? So I went back to writing and came up with an entire new scene/ beginning to the film.
Editing the project for six months also made the story evolve and grow. Cutting an entire scene and a lot of dialogue made me focus on the lead characters and their relationship. I even eliminated an entire character. As painful as the decision was; I believe it made the film clearer yet richer and deeper.
What type of feedback have you received so far?
‘The Painted Lady’ was/is my pre-thesis project at NYU Tisch School of the Arts. We edited our films for six months. As a result the initial cuts vary wildly from their “end products” (if there is such a thing). My film certainly changed a ton, and with it, the feedback. Initially, I was criticized for the overwhelming beauty of the film’s visuals overtrumping its story. After I rewrote and reshot an additional scene, professors and fellow students started to feel what they saw.
An established documentary filmmaker and professor of mine said, she thought I had a strong and unique female voice and sensibility and that I should keep tackling the thematic of the male gaze through the female eye.
When the film screened as part of NYU Tisch School of the Arts’ second year Showcase, several people from the audience told me the film and performances had moved them. It is incredibly rewarding to have a total stranger come up to you with affirmative feedback. And being selected by an Oscar qualifying festival isn’t such a bad feeling either.
Has the feedback surprised or challenged your point of view?
Any time I get accepted to a festival or receive positive feedback from a seasoned industry professional, it surprises me. In terms of being challenged, I would say that I’m extremely open to criticism and suggestions. In every phase of making ‘The Painted Lady’ I listened, took advice and tried out different ideas. But whenever the amount of opinions and point of views would become overwhelming, I tuned everyone out and went with my gut. Even in times of doubt, my sense of self (as an artist) and sensibility remain.
What are you looking to achieve by having your film more visible on www.wearemovingstories.com
Being featured on a platform that represents my work and its underlying vision in a genuine way is invaluable. I am hoping that this article will attract more moviegoers to see my film and maybe even spark the interest of industry professionals to collaborate with me on future films and projects.
Who do you need to come on board (producers, sales agents, buyers, distributors, film festival directors, journalists) to amplify this film’s message?
‘The Painted Lady’ is a small film that shows my sensibility as a female filmmaker. In order to produce more meaningful films/content I will need collaborators to come on board. Anyone (distributors, journalists, producers, festival directors, etc.) who is a bridge between me/my film and my potential audience is an invaluable asset.
What type of impact and/or reception would you like this film to have?
I hope that ‘The Painted Lady’ will leave audiences mesmerized as well as thoughtful about their own relationships.
What’s a key question that will help spark a debate or begin a conversation about this film?
In a broader sense the questions would be: What does it mean to be a young assertive woman in today’s world? And in particular: How does being loved/desired/needed by a partner figure into a woman’s sense of self?
Would you like to add anything else?
Coming from a producing background yet having directed four films in the past two years, I realize how fulfilling and rewarding directing is for me. I started out as a classically trained painter and now, after all those years of producing, I am finding the way back to my roots as an artist. To me, directing is the ultimate artistic, emotional and sensual outlet and I’m grateful I get to do it, over and over again.
What are the key creatives developing or working on now?
Writer/Director: Stephanie Bollag is in the midst of festival submissions. She is also developing the script for her next short film (which is meant to serve as the basis/outline for her feature debut) and is working on branded content for fashion label IRO and watch brand IWC.
Composer: Victoria De La Vega is currently working on an album, which will be released next month.
Interview: August 2016
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We Are Moving Stories embraces new voices in drama, documentary, animation, TV, web series and music video. If you have just made a film - we'd love to hear from you. Or if you know a filmmaker - can you recommend us? More info: Carmela
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The Painted Lady
The breakup from 60-year old painter JACOB takes the young stripper SAM on a nocturnal roller coaster that eventually sets her free.
Synopsis: When SAM (25) catches JACOB (60) painting another woman at his studio, the young stripper realizes that she has been replaced as his muse and lover. Sam’s subsequent attempts to win Jacob back fail. Even her promiscuous behavior at the strip club does not provoke Jacob to change his mind. At the pier overlooking Manhattan by night, Sam both visually and emotionally gains perspective. Standing by the river she realizes the destructive nature of their relationship. In a covert, nocturnal operation, Sam breaks into Jacob’s apartment on a mission to free herself from his grip and gaze.
Length: 10:08 min
Director: Stephanie Bollag
Producer: Stephanie Bollag / Co-producer: Adel Morales
Writer: Stephanie Bollag
About the writer, director and producer:
Stephanie Bollag is a Swiss born, Jewish filmmaker with Swedish roots. She started her career as a classically trained painter and moved into filmmaking at the age of 18. Stephanie has lived in Zurich, Tel Aviv, London and New York and speaks six languages. Among others, Stephanie worked on Joseph Cedar’s ‘Beaufort’ (Academy Award Nominated for Best Foreign Feature, Israel/2008) and Samuel Abrahams’ ‘Hold On Me’ (Best Short at The London Independent Film Festival, UK/2012). Stephanie is currently pursuing a MFA in Film directing and producing at New York University’s Tisch School of the Arts.
Key cast:
Julia Morrison – as Sam
Jack Mulcahy – as Jacob
Bobby Foley – as Jaydon
Amanda Bollag – as Muse
Looking for (producers, sales agents, buyers, distributors, film festival directors, journalists):
Producers, Sales Agents, Distributors
Funders:
Made in association with: NYU Tisch School of the Arts, Graduate Film Program
Release date:
Where can I watch it in the next month?
At the Flickers’ Rhode Island International Film Festival (08/14/16)
Milwaukee Short Film Festival – screening date TBC
Other festivals TBC (waiting to hear back from them + still applying)