In a 1973 hospital nursery, a new mother has second thoughts about a done-deal adoption, while a strange woman tries to convince her to take the baby and run.

Interview with Director/Editor Sophie Worm

Congratulations! Why did you make your film?

Brandon sent me the script in 2023, the year after Roe V Wade was overturned. It felt very prescient, as abortion rights were very top of mind for me and so many others. The film is set in 1972 when the right to an abortion was first enshrined into law. When I read this script, I placed myself during that time and thought about how I might have felt a sense of relief or freedom. I was interested in the cultural perspective shift of that era and how autonomy with one’s body would change a person’s confidence and self-worth. Also, I had never directed a period piece, which was an exciting new frontier for me.

Imagine I’m a member of the audience. Why should I watch this film?

I try to make things that I want to watch, so hopefully you will too! I’ve always been interested in the notion of power plays and what that struggle looks like in film. It is very human to want something, not for the sake of needing it, but for the sake of preventing someone else from having it. This film is a power struggle with a plot twist and it’s unclear who will walk away with the prize.

How do personal and universal themes work in your film?

The abortion debate is a personal and universal power struggle. The Flip Side takes this struggle and explores it by showing a dialogue between two women and their right to ownership. We took this macro thematic debate happening in contemporary and historical politics and boiled it down into two allegorical characters and their personal desires.

How have the script and film evolved over the course of their development?

There was a lot of debate between Brandon and me about making the central themes of the film more obvious in the writing. We ended up with a much more subtle approach than I had pushed, but in hindsight, I think the film is successful in alluding to the ideas it’s trying to get across. Hopefully, we’re able to communicate the idea that nothing is permanent and something you take for granted can be snatched away in an instant. The script was originally called Maternity Ward, but we ended up changing the name to something more elusive and enticing.

What type of feedback have you received so far?

The feedback has been very positive thus far, audiences have loved the costuming and art direction that contributed to the 1970’s feel.

Has the feedback surprised or challenged your point of view?

The main part of feedback that has been surprising is how audiences interpret the plot. It has a twist that benefits from a rewatch.

What are you looking to achieve by having your film more visible on www.wearemovingstories.com?

In a time when it is so hard to capture people’s attention, my hope for The Flip Side, is that with more visibility from “We Are Moving Stories” we will get more viewership. After the pandemic and historic entertainment strikes, I made a pledge to put my time towards producing work that people want to watch.

Who do you need to come on board (producers, sales agents, buyers, distributors, film festival directors, journalists) to amplify this film’s message?

I know that Brandon Duncan (writer), Hyten Davidson (producer), and Ashley Bacon (producer + actor) would love to continue to make more work in this vein. We’d love to attract filmmakers, producers and agents to continue this journey to creating exciting and complex work.

What type of impact and/or reception would you like this film to have?

One of my life goals as a filmmaker is to create both provocative and entertaining films. If I can make work that people think about for days after viewing it, then I consider it a success.

What’s a key question that will help spark a debate or begin a conversation about this film?

Something that’s kind of unique about this film, is that it’s written by a cis-man who obviously cares about abortion rights, which we definitely need more of. So, do you need to have the same identity (gender/sexuality/race) in your story to write from their perspective?

What other projects are the key creatives developing or working on now?

Currently, I have another short film titled, The Art Assistant in the festival circuit. It is a mockumentary about AI and the fine art world and it will be shown at the New York Independent Film Festival in June of this year. I’m also writing a feature and a short film revolving around queer stories.

Ashley, Brandon and Hyten shot their first feature, Maternity Leave in January of this year and are currently in post-production. Keeping fingers crossed for a successful festival season for them!

Interview: May 2024

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

The Flip Side

In a 1973 hospital nursery, a new mother has second thoughts about a done-deal adoption, while a strange woman tries to convince her to take the baby and run.

Length: 6:53

Director: Sophie Worm

Producer: Brianna Cala

Writer: Brandon Duncan

About the writer, director and producer:

BRANDON DUNCAN is a film/theater storyteller living in Brooklyn, NY. He's drawn to stories about regular people navigating unusual circumstances and discovering their place in the world. This manifests itself in both historical fiction as well as surreal futurism. FILM: Maternity Leave, Stay, In Time THEATER: What We’re Made Of, My Big Heart: On.

SOPHIE WORM is an award-winning director and editor located in New York. She has been telling stories since she was old enough to hold a knife and fork and give them dramatic character arcs. Her credits include a wide variety of commercials, music videos, films and series, including, most recently, Hulu's Up Early Tonight, Netflix's Homecoming and Amazon's FreeMeek. She is the proud proprietor of More Than 7 Productions, a production company dedicated to myth-busting the 7 basic plots theory.

BRIANNA CALA is an actor, writer, comedian, producer and nurse based in New York City. She has no problem using real-life stories for comedic purposes (a warning to anyone she’s ever dated). You can see these personal stories come to life on stage every month at the comedic storytelling show, Messy Queens, in Brooklyn. She is currently in post-production for her series, The IV League, in which she wrote, directed and starred in.

Key cast: Ashley Bacon (Judy), Hyten Davidson (Sandra)

Looking for: film festival directors

Instagram: @sophie_worm, @b.dunc88

Website: Brandon Duncan

Other: IMDb

Made in association with: Lady Gardens Productions

Funders: Self-funded

Where can I watch it next and in the coming month?

May 5th at 2pm; Coney Island Film Festival/ Coney Island, NY