FRAUD
A trans rocker girl, getting by on petty credit card theft, is forced to question who she wants to be when her latest target surprises her with an unforeseen proposition.
Interview with Writer Dana Aliya Levinson and Director Zen Pace
Congratulations! Why did you make your film?
DAL: Thank you! So, this short film is based on a pilot I wrote of the same name which was listed on this year's GLAAD List, in association with The Black List, as one of the top eight unmade LGBTQ pilots of 2022. The pilot script was borne out of a personal experience in which I had to give away money that I had been saving up to get my adult life started to help out my family. I was working at a bar at the time, and a customer came in and her credit card wouldn't swipe. I did manual entry, and had the fleeting thought, 'it would be so easy to steal her credit card right now.' I didn't! But the next thought was 'who's that character?' And so, Shira Rose Loewenstein was born. She's become an alter-ego of sorts.
On top of the personal experiences that underpin this story, as a trans artist, I had also grown tired of didactic trans storytelling that turns trans identity into a plot, whether by way of coming out, transitioning, or open discrimination. While these stories are also important, as a writer, I have always wanted to push us past this, toward trans characters whose trans identities inform how they navigate the story without being the story. I felt that Shira provided exactly this opportunity.
ZP: Shira is a character that I deeply relate to. She represents someone whose scared of the truth, which is something that is inherently dramatic, especially when it’s about our identity. We live in a world where the masks we put on in order to survive become etched into us, leaving many of us confused as the years go by about who we really are. So to really look at ourselves and be seen by others, is something terrifying but exhilarating. I feel like I’m not the only one who feels these things, so it was important in this film to direct it in a way that the audience would also feel this.
Imagine I’m a member of the audience. Why should I watch this film?
DAL: This film combines the crime drama elements of "Breaking Bad" with the beautiful romantic elements of "Normal People" or even "Heartstopper". I always joke that my goal for the film is for audiences to walk away rooting for Shira and André to "go do crime" together.
While we're in peak scammer TV and film, these stories are often framed salaciously; failing to acknowledge the systemic failures that make scamming attractive. The fact is, when billionaires have more wealth than 60% of the planet combined, who’s the criminal? The one trying to survive, or the one profiting off labor exploitation? Shira and André are two marginalized and disenfranchised people who find each other in this late stage-capitalist world. The love between them is palpable and real, and there is some really fun wish-fulfillment in seeing them build on that connection through their mutual drive to beat the system.
I firmly believe that there's catharsis in this story. It shows those who are financially struggling that someone understands that it isn’t a moral failure. It’s a systemic one, and they’re not alone.
How do personal and universal themes work in your film?
DAL: I've always been a big believer that the more specific and more personal a story is, paradoxically, the more universal it is. What audiences relate to are not necessarily situations or plot points, its characters and emotions. Therefore, while few people could relate to being a part of a criminal enterprise, and many may not relate to being trans, or an immigrant, they do relate to loneliness, isolation, the desire to find your place in the world, and the desire to find love and partnership.
ZP: Because we need more trans-narrative driven films that don’t focus on the before and after story. And that don’t fall into the tropes that are common in queer cinema. To see a trans character simply exist and navigate the complexities of being human outside of their transness, is something deeply important.I want us to keep making films like this because I wanna, selfishly, direct a majorly queer Star Wars film.
How have the script and film evolved over the course of their development?
DAL: I have to say, Zen had a lot to do with this. I had written the pilot first, which is a 63 page one hour drama. I think the first draft of this short was something like 27 pages long, which I knew was still far too long but didn't know how to whittle down even further. Zen really helped me to identify what the heart of the story was, and to create an arc out of the core relationship of the pilot that was satisfying and full in only 10 pages. I very much did not want to write something that functioned as a proof of concept. I wanted to write something that functioned as a short film all on its own with its own complete beginning, middle, and end. Zen really helped me to find that.
Another challenge was the pandemic. We were originally supposed to film in April of 2020. Needless to say, that didn't happen. Luckily, we retained our cast and most of our crew when we finally filmed a year and a half later. But the space gave me time to take a harder look at the script and make some changes to clarify the story, and also to better take care of the character of André, who I started to feel was a bit lost in translation from pilot script to short film. It also gave me an opportunity to find some creative ways to show Shira's external pressures in a way that wasn't present in the original script that we were going to shoot in 2020. In the end, I'm glad we shot this version and not that version.
ZP: Long! Dana knows I’m a hopeful romantic so when I read the script I was most drawn to Shira and Andres relationship. There were a lot of other elements that are great in the pilot, but for a short film, I thought it was important to really focus on one thing that would carry a universal message that plays with the pilot script. Dana is an amazing writer and it came to honing in on the identity and love aspect that shines through these characters, which was important to me. Economical storytelling like this is delicious.
What type of feedback have you received so far?
DAL: So far, the feedback has been quite positive. People have been pretty impressed with the filmmaking and pretty taken with the story which has been really exciting to see. When a story and characters have lived in your head for so long, sometimes it can be hard to know whether the outside world will be as taken with them as you are. But so far, they seem to be. Knock on wood they continue to be!
ZP: Overall very positive. I love that when we show this to the queer community they really resonate with it and understand that it’s doing something different. That excites people.
Has the feedback surprised or challenged your point of view?
DAL: Honestly, what's surprised me is how much people 'get' the film. I feel like it's a bit of proof of what I was saying, that the more specific your story and characters are, the more universal it is. Most of all, I'm surprised at how taken cisgender audiences have been with it, and how much they've related to Shira. That also lets me know that when this film, and eventually TV show, reach wider audiences, that relating to and empathy with a trans lead will have positive ripple effects as far as shifting cisgender minds around trans people.
What are you looking to achieve by having your film more visible on www.wearemovingstories.com?
DAL: I think that not only will it help us get the film out into the world, but it also provides a unique opportunity as filmmakers to, in effect, pitch it to audiences to amplify and uplift. I love how filmmaker forward you are. And we're grateful to have the opportunity to let people know that trans writers and directors are out here making films and getting into to top tier festivals! Listen up!
Who do you need to come on board (producers, sales agents, buyers, distributors, film festival directors, journalists) to amplify this film’s message?
DAL: Honestly, I jokingly say that we are a little big trans film that could. I know that it is an important film that deserves a wide audience. This means getting the attention of other film festival directors and programmers so that we can get programmed in more festivals beyond Tribeca. It also means getting the attention of journalists so that we can build a narrative around the film and help our story reach as big an audience as possible. Lastly, while we're not at the distribution phase yet, getting distributors and sales agents on board so that once we've completed our festival run, we can have a good wide online release is also super important.
ZP: People who resonate with the film and understand the message. This piece will find it’s home with those who love it as much as we do. I’m also intrested in Dana and I forming more connections with people who want to tell more stories like this. We are working on a feature and would love to set up meetings with producers.
What type of impact and/or reception would you like this film to have?
DAL: I hope that we can show people that trans storytelling can be way more interesting and creative than coming out stories or transition narratives. I hope that we can also show people that when we're given the opportunity to tell our own stories, we create art that's nuanced, lived in, and deeply human.
What’s a key question that will help spark a debate or begin a conversation about this film?
DAL: I always say that the main question that "FRAUD" asks is, 'are our identities passed down to us from our families, or are they something we get to create?' In the film, this is represented by the world Shira comes from and is trying to escape, which we see briefly when she's with her father after her rock show, vs the promise of 'together we can be whoever we want to be' that André offers her at the end of the film. Without spoiling the ending, we know what Shira believes and chooses. But is she right?
What other projects are the key creatives developing or working on now?
DAL: Right now, Zen and I are working on a feature together called "Jude", which we'll also be doing some work looking for some producers and investment for while at the festival. Taking place over the course of the Jewish holiday of Yom Kippur, "Jude" is a surrealist psychological thriller about grief, atonement, and the lies we tell ourselves to survive. We're super excited about it!
ZP: And, I’m working on two campaings that will shine a light on different aspects of the queer community. I can’t say much, but I’m hoping they resonate with people.
Interview: May 2022
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
FRAUD
Length:
13:14
Writer
DANA ALIYA LEVINSON (they/she) is an actor ("American Gods", "The Good Fight", "Adam"), and television writer. She was a Dramatists Guild Fellow and her theatrical work has been performed from California to Paris. Her pilot script, "FRAUD", which this short is based on, was named one of the top eight unmade LGBTQ+ pilot scripts of 2022 by The GLAAD List in association with The Black List.
Director
Nonbinary Director ZEN ZADIH PACE’s work has been featured in top film festivals such as the Palm Springs; HollyShorts; and Rhode Island Film Festivals. Their work has appeared in PAPER, Huffington Post, Film Shortage, and more. Zen was labeled ‘Fresh Talent’ by the Shiny Awards for their short doc "A Love Beyond" about a man with down syndrome finding home after losing his parents to the pandemic.
Producer
K. Dawn-Dumas, Erikx DiSantis, Gretchen Wylder, Amanda Mesaikos, Katie Rosin
Key cast:
Dana Aliya Levinson ("American Gods", "The Good Fight", "Adam"), Babak Tafti ("Super Pumped", "Succession", "Ramy")
Looking for:
journalists, film festival directors, sales agents,, distributors
Instagram:
www.instagram.com/fraudthefilm
Hashtags used:
#fraudthefilm #godocrime
Screens
Tribeca Film Festival/New York City - June 10th and 15th