What inspired you to make “Float Bitch”? What were some challenges?
Float Bitch was written on a whim. Some friends of mine who own an art gallery in Portland, Ori Gallery, invited me to be an exhibitionist for a month. I thought it was a joke at first to be honest but I asked myself “What do I have to share right now?” and this film was it at the time. One challenging aspect of this film was using my bedroom for most of it. I had to live on my own film set for a month. There were jeans everywhere. It was very overwhelming. Another challenge was being a full time college student and mourning the loss of a friend’s life due to police violence all while working on this film. I often feared I’d miss my deadline or as well as need to take a step back from school.
What do you think of the current state of trans/gnc filmmaking? Could you talk about it in relation to mainstream media and LGBTQ+ media?
I’m a queer independent/freelance filmaker. I graduated during the COVID-19 Pandemic and I am excited for the opportunities to come, however as of now I have only dipped my toes into the world of trans and gnc filmmaking. I’m still exploring what it means to be an artist and a part of a network during the age of social distance.
Do you have any words for to young trans/gnc/queer folks/or anyone else interested in making films?
My advice to young aspiring filmmakers would be to work with people who make you feel seen. Work with people who have faith in your vision.
Directed by Princess Bouton and
Evan James Benally Atwood
A short film that explores a black transfeminine filmmaker/performer’s relationship to her own self-worth and ego. The film pushes the idea that by centering yourself in your artwork, specifically for those who are typically “othered” in most narratives, one is committing a gorgeous and radical act.