Before completing “Pink Collar Crimes,” a true crime series for CBS, Sharon Liese’s short documentary “Fight for the First” premiered at Chuck Todd’s Meet the Press Film Festival in collaboration with the American Film Institute. Liese also directed and produced “The Gnomist,” which had its world premiere at the 2015 Tribeca Film Festival, and went on to win 15 festival awards, including the Jury Award for Best Short Documentary at LA Shorts Fest. The film qualified for Oscar consideration before being acquired by CNN Films.

“Transhood” was scheduled to screen at the 2020 Hot Docs Canadian International Film Festival. A digital version of the fest has been organized due to the COVID-19 pandemic. “Transhood” will screen in Hot Docs Festival Online, which launches May 28 and is geo-blocked to Ontario, Canada. More information about the program and how to tune in can be found here.

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

SL: The film is a panoramic view of four transgender kids over the course of five years in the heart of the country. When I started filming with the kids, they were ages four, seven, 12, and 15. “Transhood” is a nuanced look at how these resilient kids navigate relationships, body dysphoria, and a volatile political environment, all while experiencing adolescent angst.

The documentary is a rare window into the unique challenges trans parents face as they process and respond to factors they never gave any thought to previously. Each kid’s journey reveals powerful, inspiring, and even funny moments. They teach us all something new about being human.

W&H: What drew you to this story?

SL: I love to tell coming-of-age stories because transformation over time is fascinating to me. When I met with the the Transgender Institute in Kansas City, I was immediately in awe of the people I met at support groups. I was especially drawn to the kids who were finding their voice and figuring out how to tell the world who they are.

When I started filming five years ago, people knew even less than they do today about trans folks. I fell in love with the kids and their families immediately and wanted the world to see what I see in them.

W&H: What do you want people to think about after they watch the film?

SL: I hope people see the strength and power these kids exhibit, and see that all the parents are doing the best they can do and what they believe is in the best interest of their kiddos. I also hope that we can correct common misconceptions. For example, when young kids transition, there is no medical intervention involved. It’s a social transition only.

I am eager for viewers to appreciate and discuss the unique challenges trans parents confront, like: how to guide your child through the disclosure process, how to handle dating, how to identify when bullying or body dysphoria can lead to suicidal thoughts, how to talk about gender confirmation surgery.

I have found that many cisgender people are baffled by kids “knowing” at a young age that they are different than the sex they were assigned at birth. I hope this film provides insight on that, and helps people to understand what it looks like when parents let their kids lead.

My greatest hope is that people will have a greater understanding, overall, that trans folks have differences and similarities — like all of us.

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

SL: The biggest challenge was distilling the footage that captured the lives of four characters and their families over five years into 96 minutes. There were so many storylines we had to drop and so many powerful moments we were not able to share in the film.

Fortunately, HBO will post additional content on their site.

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

SL: My production company, Herizon Productions, self-funded the project for the first year of filming and put together a trailer. I then pitched to studios and got several offers to collaborate. I partnered with Bunim-Murray and BMP Films, and then we pitched to distributors.

We received some development funds from a network which allowed us to cast two additional characters and film more. That network did not pursue the project after the development stage, and BMP Films decided to substantially fund the film for an additional three years until we could pitch the project as a feature documentary with five years in the can.

We had great interest in the project again, and happily went with HBO Documentaries to be our distributor.

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

SL: When my daughter was entering high school, I could not find digital resources to help prepare for the journey she was about to embark upon. It got me thinking that it would be great to capture the real-time stories of girls going through all four years of high school.

So while I maintained my “day job” as a marketing and communications consultant, I was methodically capturing my daughter’s high school contemporaries. It became an award-winning, eight-part documentary series on WeTV. After that, I was a full-time storyteller.

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

SL: It’s actually hard to remember what advice I have received over the years. In general, I would say that things don’t turn out as well when I am steered away from trusting my gut. The advice I have heard most often that I need to hear is to “speak up.”

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

SL: My advice to other female directors: tell the stories you love to tell, do the work, and never feel less than.

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

SL: One of my favorite films is “Citizenfour,” directed by Laura Poitras. I admire the tenacity, grit, and badass-ness it took to make the film. I am in awe of every detail, from cultivating a trusting relationship with Edward Snowden, to blowing the lid of the N.S.A’s tactics and then capturing the story in real time and presenting it all cinematically.

The film represents the best in documentary filmmaking. From the goosebump-inducing second you see Snowden sit down in front of the camera, you know you’re in for a ride.

W&H: How are you adjusting to life during the COVID-19 pandemic? Are you keeping creative, and if so, how?

SL: First of all, I am grateful that the world is pausing for the right reasons. Yet, it is still challenging to see the dates of festivals your film was slated for pass by. “Transhood” was supposed to have its world premiere May 1, on the opening day of Hot Docs. I do feel very fortunate film festivals have adapted so quickly and are being so creative in trying to honor filmmakers.

One of the weirdest experiences has been screening the film through Zoom with my subjects. I usually do this in person, and then typically screen with a live audience where the subjects get to see the admiration and love. I miss those aspects that are really rewarding as a filmmaker.

This time is also requiring creativity with current projects, as we have to rely on video diaries and subject-shot footage for coverage when we cannot be present to shoot.