Evan Briggs worked as a field producer on the documentary “Tough Love,” which aired on the PBS series “P.O.V.” in 2015. She has taught filmmaking through the Digital Media Academy in San Francisco as well as at the Seattle Film Institute, and currently teaches at Seattle University. Briggs also works as a freelance director, providing video content to businesses and organizations both locally and nationally. “The Growing Season” is her feature debut.

“The Growing Season” premiered at the 2017 DOC NYC film festival on November 12.

W&H: Describe the film for us in your own words.

EB: “The Growing Season” is for me a story about death, which makes it ultimately a story about life. The fact that we all know we will someday die is what gives life meaning, and this is so beautifully illustrated in the relationships between the old and young.

A secondary theme of the film is the value and importance of human connection in general, but also across generations.

W&H: What drew you to this story?

EB: I have been preoccupied with the notion of aging since I was a young child and first set foot inside a nursing home. As a culture we have done a pretty good job of making old age seem terrible, and this has always mystified me. If aging is inevitable, why would we not instead choose to embrace it?

From a pragmatic perspective, we are facing an unprecedented demographic shift wherein the global population of people aged 80 and older is expected to more than triple by 2050. The ripple effect of this shift will impact everything from healthcare to housing to transportation to the workforce.

I knew for years I wanted to make a film that explored this topic, but was waiting for the right story to come along. When I discovered the preschool housed inside a retirement home, I knew I’d found it. More integration between generations is a mutually beneficial, low-tech, and totally scalable way to begin to address some of these concerns.

W&H: What do you want people to think about when they are leaving the theater?

EB: First and foremost, I wanted to make a film that felt very open-ended. Part of the beauty of this story is that it will mean something different to everyone who watches it, depending on where they are in their own lives.

I have been told by people who have seen the film that there are certain moments that keep coming back to them, and that they continued to reflect on for months after watching the film. Interestingly, no two people have referenced the same scene, and this is exactly what I’d hoped for.

W&H: What was the biggest challenge in making the film?

EB: There were so many challenges, but probably the biggest was funding.

W&H: How did you get your film funded? Share some insights into how you got the film made.

EB: Most of the funds I raised came from Kickstarter. I got one small grant very early on, and the rest was my own money.

W&H: What does it mean for you to have your film play at DOC NYC?

EB: I’m thrilled to have my film play at DOC NYC. New York City is a great place to premiere and, though this will be my first time attending the festival, I have always heard such great things about the DOC NYC audiences.

W&H: What advice do you have for other female directors?

EB: Persevere! I’ve faced more rejection in the making of this film than I ever even imagined was possible. I’ve doubted myself and wanted to give up so many times. You really have to believe in your vision and ultimately, you need to define success in your own terms.

Rock on, female directors! The world needs you.

W&H: Name your favorite woman-directed film and why.

EB: I loved, loved, loved “Cameraperson” by Kirsten Johnson. I loved how it was both personal and universal, its form and structure, and all the layers of meaning. I loved everything about it.

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.

EB: I am an optimist by nature, so I will always try to focus on the positive. My two older sons, who are nine and six, are coming with us to “The Growing Season’s” premiere because it was really important to me that they see me in this role and understand what I do.

My hope is that they will grow up thinking there’s nothing unusual about the fact that their mom also happens to be a film director. I do truly believe we will see some real change with this next generation!