Jennifer Reeder constructs personal fiction films about relationships, trauma, and coping. Her award-winning narratives borrow from a range of forms including after school specials, amateur music videos, and magical realism. These films have shown consistently around the world, including the Sundance Film Festival, The Berlin Film Festival, The Venice Biennale, and The Whitney Biennial. Among her credits are the shorts “Crystal Lake,” “Marietta Brimble,” and “Blood Below the Skin.”
“Signature Move” will premiere at the 2017 SXSW Film Festival on March 11.
W&H: Describe the film for us in your own words.
JR: It’s a Muslim melodrama and an American love story.
W&H: What drew you to this story?
JR: Fawzia Mirza, who wrote the script and and is our lead actress.
W&H: What do you want people to think about when they are leaving the theater?
JR: I want the audience to take away the sense that small, personal stories about human connection are the most important.
W&H: What was the biggest challenge in making the film?
JR: This is the first film I directed that I did not write. It’s a tender story and I am used to making moves which are darker and weirder.
W&H: How did you get your film funded? Share some insights into how you got the film made.
JR: This would be a better question for the producers, but I do know that this film was partially funded by a successful Indiegogo campaign and a handful of investors including the Academy Award-nominated actor Michael Shannon, who serves as executive producer. This is a Chicago film!
W&H: What does it mean for you to have your film play at SXSW?
JR: I have screened films at Sundance, AFI, Berlinale, London, Rotterdam, etc., but this is my first SXSW experience and I am so honored that this film was also part of the initial publicity launch.
This world premiere is extremely validating. I am taking it all in and taking nothing for granted.
W&H: What’s the best and worst advice you’ve received?
JR: The best advice is a tie between “Don’t shit where you eat”and “Pick up the glass with tape.”
The worst advice I ever heard goes something like “Don’t make films about women.”
W&H: What advice do you have for other female directors?
JR: Find your squad, put in the work, tell the stories that are missing. You got this.
W&H: Name your favorite woman-directed film and why.
JR: Lynne Ramsay’s “Morvern Callar.” This is a masterful film carried by one women who is difficult and resistant and yet she captivates without end. This is nearly an impossible combination.
W&H: There have been significant conversations over the last couple of years about increasing the amount of opportunities for women directors yet the numbers have not increased. Are you optimistic about the possibilities for change? Share any thoughts you might have on this topic.
JR: I am in favor of a full rejection of the standard. Bypass the system or bust.
