Scotty's Vag
The night of a sorority hazing event, a college freshman learns just how far she’s willing to go to impress an older girl.
Interview with Writer/Director Chaconne Martin-Berkowicz
Congratulations! Why did you make your film?
Scotty's Vag is a personal film, inspired by my own experiences in a college sorority. The group provided me with female validation I hadn't received in my childhood, and it was empowering—I felt protected and part of something meaningful.
But the group's power dynamics were complex. Older girls acted as role models that younger girls worked hard to impress, and hazing was deemed acceptable—a rite of passage. Looking back, I’m struck by how I was both terrified and enthralled by older girls, and by how I, too, was capable of peer-pressuring younger girls when I was an upperclassman.
While not autobiographical, Scotty's Vag explores the duality of this experience. I delve into stories of female sexuality and bonding, in which women behave in ways that can’t be categorized as “good” or “bad”. I want to illustrate that women are equal to men in existing in a moral gray area, all the while capturing humanity in their flaws. Raw, female stories are empowering, and it’s time for them not to be overlooked.
Imagine I’m a member of the audience. Why should I watch this film?
Women relate in fascinating ways, and there’s still so much to explore in this realm cinematically. Scotty's Vag delves into how women grow into their power and sexuality in relation to themselves and each other, instead of in relation to men. You should watch this film to see an example of how these relationships are messier and less typically palatable than those we often see depicted.
How do personal and universal themes work in your film?
Scotty's Vag is very loosely inspired by my college experience in a girls' secret society. Themes of coming-of-age, female sexuality and power dynamics interweave to capture the nuances of female bonding. Regardless of whether or not viewers were in college social groups, themes of peer pressure, admiration and emulation of those we look up to, and personal growth are universal.
How have the script and film evolved over the course of their development?
This film went through a long development process. After the script was written, my cinematographer Gemma Doll-Grossman and I watched reference films and discussed how we wanted to visually convey our characters’ emotional journeys. These conversations led me to rewrite parts of the script because I felt we were making new discoveries.
The casting process also helped the film evolve. Each actor brought their own perspective to the story and shined a light on nuances that weren’t necessarily on the page. As a result, I think the film evolved to feel more realistic.
Finally, in the edit, we had so many ways we could go in terms of pacing. I learned a lot through this process thanks to the editors I worked with, especially since my personal preference is to let performances breathe without cutting away too quickly. I also found that a slower pace helped build tension, as it forced the audience to sit in uncomfortable situations.
What type of feedback have you received so far?
People with whom the film resonates feel that it is a tense, propulsive watch. They’re never sure what is going to happen next. We’ve also had a lot of really positive feedback when it comes to performances—that the actors have an undeniable chemistry that makes the film feel natural and realistic. I’m very grateful for how much we rehearsed before coming to set, as I think it’s the palpable chemistry between them that so organically brought the story to life.
Has the feedback surprised or challenged your point of view?
When I first heard that the film put people on edge, I was surprised—perhaps because I’m so close to the material I can’t experience that same discomfort. Upon reflection, I wonder if this discomfort might have to do with the fact that we don’t often see women on-screen acting in ‘dirty’ or ‘dangerous’ ways. I think when material pushes the envelope in that direction, it can be unnerving because we’re rarely confronted with it.
What are you looking to achieve by having your film more visible on www.wearemovingstories.com?
We would love to bring Scotty's Vag to wider audiences, and hope that our presence on We Are Moving Stories helps us spread the word. The greater the viewership, the more likely we are to reach those who are interested in, and empowered by female-driven content that veers from what we stereotypically see on screen. That said, we also hope to reach audiences that might not typically seek out this kind of content, as we hope to give voice to a new, thought-provoking perspective.
Who do you need to come on board (producers, sales agents, buyers, distributors, film festival directors, journalists) to amplify this film’s message?
Journalists, film festival directors, and distributors would be incredibly helpful to connect with so we can spread the word about Scotty's Vag and bring it to further audiences.
What type of impact and/or reception would you like this film to have?
Personally, I hope it’s empowering to watch women existing and acting in a moral gray area. That said, I just hope audience members feel something whether they’re uncomfortable or excited or both. All I can ask is that they reflect on their reaction.
What’s a key question that will help spark a debate or begin a conversation about this film?
Is it empowering to watch people you relate to acting in ways that could be perceived as outrageous or grotesque on screen?
What other projects are the key creatives developing or working on now?
I recently wrapped as a writer on Amazon’s upcoming TV series Cruel Intentions and am now developing a feature that shares similar themes with Scotty’s Vag. Our producer Cailin Lobb-Rabe has a few other short films that will soon be starting the festival circuit, and our producer Gia Rigoli was just awarded Film Independent’s Imaginar Producers Residency.
Interview: April 2023
We Are Moving Stories embraces new voices in drama, documentary, animation, TV, web series, music video, women's films, LGBTQIA+, POC, First Nations, scifi, supernatural, horror, world cinema. 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
Scotty's Vag
The night of a sorority hazing event, a college freshman learns just how far she’s willing to go to impress an older girl.
Length: 15:35
Director: Chaconne Martin-Berkowicz
Producer: Cailin Lobb-Rabe
Writer: Chaconne Martin-Berkowicz
About the writer, director and producer:CHACONE MARTIN-BERKOWICZ (she/her) is a writer and director based in NYC and LA. She tells raw, sensual stories about female relationships, sexuality and the moral grey areas in which they exist. She is a writer on Amazon's TV series Cruel Intentions, and previously wrote for Amazon’s I Know What You Did Last Summer. Her short Scotty's Vag premiered at SXSW '23, and her previous short In Sync played at film festivals across the country.
CAILIN LOBB-RABE (she/her) is a freelance producer born and raised in Germany. She attended college in England at the University of Kent, and is now based in LA. Her films have screened at SXSW, Maryland Film Festival, Eastern Oregon Film Festival, and NoBudge, to name a few. Cailin is passionate about stories centered on complex feminine experiences.
Key cast: Allegra Leguizamo (Scotty), Sara Silva (Hunter), Isabelle Gillette (Becca), Ezekiel Goodman (Tommy)
Looking for: film festival directors, distributors and journalists
Instagram: @lovechac
Website: www.chaconnemb.com
Other: IMDb
Funders: Self-funded, Kickstarter
Where can I watch it next and in the coming month?
Atlanta Film Festival 2023
(more updates coming, but still under wraps for now!)