Shaleece Haas is co-producer of the 2013 documentary “The Genius of Marian,” director of the documentary short “Old People Driving,” and producer of several short films including “City Fish” and “Awardwinninggir.” Haas is a 2015 Film Independent Documentary Lab Fellow, a 2012 Working Films fellow, and a member of the Queer Producers Collective. In addition to her work as a filmmaker, Haas teaches at the Berkeley Advanced Media Institute and the UC Berkeley Graduate School of Journalism. “Real Boy” is her first feature documentary as a director.

“Real Boy” will make its Canadian Premiere at the 2016 Inside Out LGBT Film Festival on May 31.

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

SH: “Real Boy” is the story of Bennett Wallace, a young transgender musician seeking the love and support of his mom, Suzy, who struggles to accept her child’s transition. While Suzy works through her shame and confusion, Bennett is taken under the wing of his mentor, Joe Stevens, a celebrated transgender musician fighting his own demons.

W&H: What drew you to this story?

SH: I first met Bennett through his mentor Joe and I was struck by the parallels in their lives. While Bennett was finding his voice quite literally through music and transition, Joe was searching for his muse as a newly sober songwriter. I thought the film might be a kind of buddy movie, one that explored the healing power of music and the way mentorship within LGBTQ communities can be a life-saver for both the mentor and the mentee.

That story line is still part of the film. But when I met Bennett’s mom and witnessed the combination of affection they had for one another and their painful struggle to understand each other, I knew the film needed to focus on their relationship as well. I had faith that their love would eventually prevail over the pain, anger, and fear, and I wanted to stick around long enough to see it through. It took four years, but I think it’s part of what makes “Real Boy” special: you get to watch the full arc of that relationship.

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

SH: It depends on who’s watching. For young people grappling with questions of identity — about gender or anything else — I hope “Real Boy” serves as an inspiration to seek supportive communities of people who can help navigate through times of isolation. For parents, I hope the film is a reminder that their support is vitally important to their children’s health and well-being.

And for those unfamiliar with trans community, I hope they leave the theater and think about how they can make more room for all the people in their lives whose identities may be different from their own.

Ultimately, I hope “Real Boy” is an emotionally connecting experience that invites people to laugh, cry, think, feel, and relate.

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

SH: Logistically, the biggest challenge was structuring a film with a main character who looked and sounded different in every shoot. As Bennett transitioned, his voice and body changed very quickly. So whatever we shot at a given moment was all we had to work with — no pick-ups. In the edit, we had to cut several scenes we loved because they didn’t fit both the chronological shooting order and the emotional arc of the film.

Emotionally, the biggest challenge in making “Real Boy” was navigating between my dual roles as filmmaker and friend. I am very close to everyone in the film and throughout the filmmaking process I spent many hours balancing my commitment to the story and my connection to those in it.

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

SH: The first year of production on “Real Boy” was entirely self-funded. The film required minimal travel and as a director/DP, I was able to complete most of the shooting on a relatively small budget. At the end of our second year, we received co-production funding from ITVS, which, together with grants from California Humanities, Pacific Pioneer Fund, and several others, enabled us to complete our edit. The final stages of post-production were crowdfunded through Kickstarter.

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

SH: Best advice: “Take excellent care of your crew.”

Worst advice: “Assume your audience is stupid.”

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

SH: Make any kind of movie you want. Know your perspective is important. Build community with other filmmakers, especially those with shared identities and experiences.

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

SH: Dee Rees’ “Pariah.” This film about a young black lesbian is intimate, heartbreaking, hopeful, and real. “Pariah” is well-crafted, beautifully shot, and has such a confident voice, especially for a first-time feature director.

W&H: What does it mean for you to have your film screen at an LGBT festival?

SH: As a queer filmmaker, LGBTQ festivals feel like home to me. I am happy that mainstream festivals, television, and theaters are increasingly programming films about queer and trans experience, but the most nuanced, complex, and diverse stories are still found primarily at festivals dedicated to LGBTQ films.