{shortcode-464503a82d1b50630d794aaa090c3ab153f15e29}

GRRL HAUS CINEMA is a screening as diverse as the members of its audience. Young girls, college students, corporate men and women, and older couples all gathered to see the program. The collection included 16 local, national, and international short films and music videos, all female and LGBTQ directed, with a focus on low-budget and DIY filmmaking. The films ranged from comedies and dramas to experimental projects and tributes, and the stark differences between each piece were reflected in their various lengths, genres, and artistic approaches to conveying their stories.

Though each of the 16 contributions was significant to the collection, two films stood out from the rest: “Fish Bowl,” directed by Rachel Sweeney, and “When the Beat Drops,” directed by Amy Janna.

“Fish Bowl” is a dark comedy about a woman’s self-discovery of her body’s autonomy. The film depicts soon-to-be mother Zoe on the day of her rehearsal dinner. She shares tender moments in bed with her fiancé Jude, welcomes her loved ones to the event, and unexpectedly has a miscarriage in the bathroom.

Despite dealing with such a heavy topic, “Fish Bowl” is shockingly hilarious. The cast’s comedic delivery is stellar and the jokes, rather than being cheap and insensitive, are thoughtful and witty. Oftentimes, the film leans into a depressing, funeral-like atmosphere, evident in the low exposure and high contrast pairing of the film’s lighting, coupled with a longstanding uneasy feeling that something ominous looms. These combined elements — the humor and gloom — foster an unconventional means to add nuance to a serious matter.

While definitely steeped in the comedic elements, “Fish Bowl” offers a poignant exploration of societal expectations and personal autonomy. Zoe’s circumstance provokes her introspection, prompting challenging conversations about what it means to be a woman against the backdrop of both adulthood and motherhood. The production does so in an attentive way that not only considers but also prioritizes the female perspective amidst complex social dynamics.

Though “When the Beat Drops” isn’t as humorous, it’s equally impressive with its raw, emotional depth and compelling story. The film is a drama about the nonlinear process of managing grief in the context of youths’ vulnerability to external influences that threaten to derail that emotional journey. Maya and Sem, two teenage soccer players, share a beautiful and intimate friendship, enveloped by their love for the sport and their complementary differences from one another. However, one night at a party, tragedy occurs as Sem is unexpectedly hit by a car.

Subsequently, Maya must learn to navigate that heartbreak while grappling with feelings of guilt and loss. The film uses soccer as a medium to progress the narrative, allowing for genuine and unguarded moments of anxiety, frustration, and tense anticipation. Similarly, Maya’s frame of mind is also told through her self-expression, wearing vibrant outfits, unique jewelry, and captivating eye makeup to communicate her emotions as she processes Sem’s passing. This film intertwines two distinct outlets to so vividly indicate her internal struggles, and it does both with remarkable authenticity that stay true to the character.

While similar productions can feel exploitative of the characters that the audience grows to love so quickly, this film delicately portrays grief and has a realistic depiction of the emotional complexities involved. “When the Beat Drops” stands as a testament to the human capacity for resilience and is a love letter to female friendship and its ability to transcend adversity.

Although these two films were clear standouts, there are many honorable mentions. Natalie Peracchio’s “Wiener” doesn’t take itself too seriously, as it dissects a father-daughter relationship on a college tour through the vehicle of President Wiener, a semi-diegetic character with a penchant for absurdity. Allison Radomski’s mixed media “I HEART HORSE” creatively represents women’s sexuality and solitude via a parasocial relationship with a neighboring horse, eliciting several consistent laughs from the audience. In a matter of two minutes, Amanda Foreman’s “An Artist’s Life” considers the loneliness of a ventriloquist’s life, before revealing the true narrator: his puppet.

The eclectic mix of the program left no stone unturned in its exploration of the human experience, offering a blend of humor, poignancy, and creative ingenuity that captivates all. The full screening ends up being a cohesive collection with a diverse array of films that represent audiences on a deeply personal level. Whether that’s seeing life through the lens of female and LGBTQ directors or feeling empathized with through authentic storytelling, GRRL HAUS CINEMA is surely a collection worth remembering.