My Sisters
June is met with a conversation she'd rather not face, but time has passed and her siblings have questions.
Interview with Actor/Writer/Director Jess Kennedy
Congratulations! Why did you make your film?
Thank you, that in itself feels like a major achievement; especially considering we finished filming the night before Melbourne’s strictest, longest lock down. At the beginning of last year, my plan was to see one of my scripts through to production. It had always seemed like such an intangible concept but during the pandemic, it became my main focus.
I love being a part of the story telling process but as an actor, when and which stories you get to tell can often feel out of your control. I believe MY SISTERS holds great value, as the perspective it focuses on is rarely explored. I’ve always wanted to make a short, and as a first time director, I wanted the structure to be simple and intimate so I could hone in on the performances whilst being one of the actors.
Imagine I’m a member of the audience. Why should I watch this film?
MY SISTERS provides a different lens on romantic relationships, which may resonate deeply with certain audiences or provide them with a new outlook. It shows a woman unsure of where she fits, but actively trying to understand and in turn be understood.
The film has a lot of love, honesty and showcases the nuance of balancing personal discovery with sisterly dynamics; especially as young adults still living at home. The conversation between Lou and June is so significant, yet seemingly so conversational. Like these characters, I think certain people often mask things as low stakes to shield their vulnerabilities. We later reveal the third sister, Robyn, to show that this fragile conversation is being navigated in a busy, family household. Those growing up in a family unit may relate to the lack of privacy.
Knowing that the actors are my actual siblings, filmed in our childhood home, enriches the watching experience; let alone remembering that we managed to make something safely during 2020.
How do personal and universal themes work in your film?
I’m usually drawn to exploring things that hit personally. In this case, the theme of relationship pressures is a discussion that needs to be had more universally; especially the concept of validity as an ‘adult’ outside desiring one at all.
How have the script and film evolved over the course of their development?
While the story has remained true to its core, I worked with two amazing script advisors who helped specify and solidify character needs. One of these advisors openly identifies as Asexual; she came on board after a really crucial conversation we had. She reminded me of the value in showing stories where the character lives in not knowing. June, like many, remains in the turmoil of this confusion, yet yearns to further understand herself.
As the script is dialogue heavy, I chose to steer the action away from over dramatisation. The film mainly occurs in one moment. For audiences to engage comfortably with this slice of life, I felt the stakes couldn’t be pushed into overt drama. June and Lou’s casualness is their shared coping mechanism and we scheduled the time to rehearse and explore what lies underneath that.
Working with Bonita Carzino and Maddelin McKenna on set helped to further define each moment. Bonita has an incredible eye and captured June and Lou’s relationship with such empathy and beauty. Having Maddy as AD was such a gift, as she provided grounding direction when I was in front of the camera.
What type of feedback have you received so far?
Two responses come to mind. I’ll keep them confidential but one person shared that she came away questioning her own pressures towards relationships. Upon reflection she wrote in her iPhone notes ‘why do I need someone to make me feel whole?’.
The other was that she’d never questioned what it must be like to feel those pressures, when you don’t even want a relationship. This comments on a crucial layer of the story; the usual narrative is that there are outside pressures for people who already yearn for a romantic relationship, but in June's case, she faces added turmoil in the confusion of never having genuinely craved one.
Has the feedback surprised or challenged your point of view?
I was initially worried people would be bored by the story! I knew it held so much value but because it mainly centres around one intimate discussion, nothing drastically changes. It's a subtle film and as such has often stirred people in quiet ways. I've been impressed with reactions recognising the importance of holding space and exploring such conversations. The film's vulnerability has in turn allowed audiences to question their own relationship to many kinds of relationships; romantic ones, familial, societal - and how we relate to ourselves.
What are you looking to achieve by having your film more visible on www.wearemovingstories.com?
An audience! MY SISTERS is preparing for its film festival circuit and as such, is on the lookout for festivals whose focus and interests align with the story.
Who do you need to come on board (producers, sales agents, buyers, distributors, film festival directors, journalists) to amplify this film’s message?
We are keen for film festival curators and directors considering the film to make themselves known. Any journalists interested in further promoting the story are most welcome to get in contact too.
What type of impact and/or reception would you like this film to have?
I'd love for the film's impact to reflect its conversational plot. For audiences who connect to, or question the story, to have any form of an internal dialogue or open discussion would be amazing.
What’s a key question that will help spark a debate or begin a conversation about this film?
How much have both outside and internal pressures influenced your actions towards wanting a romantic relationship? Bluntly oversimplified; how many times has your Grandpa asked you ‘have you got a boyfriend / girlfriend yet?’.
Would you like to add anything else?
A big thank you to Carmela and We Are Moving Stories for providing such an integral platform to promote new independent work. Having first heard of many short films via this website, I’m excited to now have the privilege of discussing my own.
What other projects are the key creatives developing or working on now?
Our DOP Bonita Carzino, has more amazing cinematography work in the festival circuit with Jordan Giusti’s REPTILE, a Melbourne International Film Festival selected short.
I’m in the midst of developing another short with a collaborator friend at the moment. We’re taking our time and enjoying that process.
For further information on Jess Kennedy, you can contact her at https://www.jesskennedy.net/contact
Interview: August 2021
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
My Sisters
Length:
7:53
Writer/Director
JESS KENNEDY is a Melbourne / Naarm based creative and graduate of 16th Street Actors Studio. She has played numerous leads in award winning short films. After obtaining US representation in 2019, JESS is debuting her work as a writer / director. Her stories often centre around young women and their navigation of mental health and social / familial dynamics.
Social media:
https://www.instagram.com/jessiejkenny/
Producer
PAIGE WHAREHINGA is an emerging producer from New Zealand and graduate of the University of Auckland, majoring in Film and Television. After working in LA, she moved to Sydney to work in development and producing. Since 2018, PAIGE has spent her time developing skills as a producer in TV and successfully pitched an animation pilot to Adult Swim (US) with an EP role.
Key cast:
Jess Kennedy (June), Anna Yates (Louise), Emily Yates (Robyn)
More info:
https://www.jesskennedy.net/film-1
Made in association with:
Where can I watch it now?