Melody Gilbert has been making feature-length independent documentaries for 15 years. Her film topics range from children who can’t feel pain (“A Life Without Pain”) to people who want to become amputees (“Whole”) to the former Vice President of the United States (“Fritz: The Walter Mondale Story”). Gilbert’s work has screened at prestigious film festivals such as SXSW and Hot Docs, and has been distributed via TV and VOD. Most recently, she produced “The Starfish Throwers” and “Women Outward Bound,” and exec produced “American Heart.” “Silicone Soul” marks her seventh feature film as a director/producer/cinematographer.

“Silicone Soul” will premiere at the 2018 DOC NYC film festival on November 10.

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

MG: “Silicone Soul” is documentary about people who have full-fledged relationships with lifelike and life-sized silicone dolls. Have you seen the movie “Lars and the Real Girl?” This is the real “Lars and the Real Girl.”

But it’s not just about men and it’s not sensationalistic. The film also introduces us to a married couple, a baby doll artist, and a female photographer who uses the dolls as her friends. Ultimately, it’s a film about relationships, secrets, love, and our human need for companionship.

W&H: What drew you to this story?

MG: I have always been drawn to outsiders, underdogs, and subcultures. When I first heard about this subject from psychologist Dr. Danielle Knafo, I wasn’t so sure I wanted to dive in. But the more I heard, the more fascinated I became. Dr. Knafo has been studying and researching this community, and she introduced me to this world. I’ve made films about urban explorers, amputee-wannabes, and kids who can’t feel pain, so why not a film about people who love lifelike dolls?

For the past four years, I spent time with the growing subculture of people who live with and love these expensive ($10K-plus) life-sized, and lifelike silicone dolls that look real and feel real — oh, and they are heavy, too: they weight almost 100 pounds. I am not interested in sensationalizing — that’s easy. I take a non-judgmental approach. Who are these people? Do their families know? What do their families think? Why do they need to do this? Do they know the dolls are dolls?

I like to think this film takes you on my journey from incredulous to understanding. I’m grateful to have this opportunity to tell stories about interesting people who bravely open up and share their secrets and stories with me.

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

MG: “Silicone Soul” is about people who live with and love dolls, yes. But ultimately, it’s a documentary about so much more. I hope it challenges us to ask questions about who we are and where we are going as a society, and forces us to contemplate some difficult questions about the future of human relationships.

I also hope that this film will force people look deep inside themselves and find empathy and acceptance for those among us who are different. Who are we to judge who — or what — people choose to love?

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

MG: Some of the subjects in the film did not want to be in the film, and it took a long time to develop that trust. They thought the film would turn out sensationalistic. In fact, my approach is quite the opposite.

First, they had to learn that I wasn’t “the media.” Also, because I mostly work alone, there were a few times that I forgot to get a release form on a shoot. Big mistake. I just found out that there is a new app that lets people sign a release on a phone — I will probably be doing that from now on!

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

MG: I know how to shoot and edit, so when I hear about something interesting, I can just start filming. That’s what I did with “Silicone Soul.” I am a “one-woman band” where I do everything: produce, direct, shoot, and sound. A tip: I use wireless mics most of the time, which allows me to keep distance but still get quality audio. So, on and off for three years, I filmed in between other things I was doing, including teaching, making docs for clients, and working as a producer/story consultant on other projects I believe in.

This film was funded mostly from crowdfunding and collaborations with my filmmaking community in Minnesota.

W&H: What inspired you to become a filmmaker?

MG: My background is journalism, so I come from the world of telling a story every day and getting paid for it. I loved it. But at some point, I got bored with the big crew — usually men — and making short stories and saying, “We have to wrap because we have to be on the 6 p.m. news.” Also, I noticed that once the camera was turned off, that’s when people actually started talking and sharing their stories with me. I always wanted to spend time to get really deep stories.

So, I started making “long form” stories for the news and eventually documentaries for the local PBS station. I loved it, but I realized that I wanted to own the stories I was telling. So, I left and started my own production company, Frozen Feet Films, in 2002 and have not stopped since.

W&H: What’s the best and worst advice you’ve received?

MG: Worst advice: The person who tried to talk me out of quitting my job and starting my own company. They said I would regret it. You know what? That person was wrong. Yes, it’s risky but I love my life every single day. How many people can say that?

Best advice: You just be you. Don’t let anyone tell you how to be an “artist” or a “filmmaker.” Make your own rules. Just be the storyteller that you are.

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

MG: I always tell young female directors the same thing I tell anyone: Get started. Make mistakes. Try again. Don’t let anyone stop you. Surround yourself with supportive people you trust. You can do this.

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

MG: That’s a tough one. I adore Agnès Varda — I love so many of her films, but especially “The Gleaners and I.”

But Barbara Kopple was a role model for me for making “Harlan County U.S.A.” and “American Dream.” She was a ballsy, gusty woman who worked in dangerous situations and never gave up.

W&H: Hollywood and the global film industry are in the midst of undergoing a major transformation. What differences have you noticed since the #MeToo and #TimesUp movements launched?  

MG: More men fired. More women fired up. I’m especially proud to be founder and co-chair of the Minneapolis chapter of Film Fatales.