Jac Gares is a New York-based filmmaker and freelance television producer. From 2009 to 2012, she served as series producer for “In The Life” on public television. During her tenure, the series garnered awards from NLGJA, GLAAD, and Webbys. Her first documentary, about genetic testing and Alzheimer’s Disease, “Unraveled,” won a Freddie Award in 2008, and her short film “Remnant” won a TELLY Award in 1999.

“FREE CeCe!” will premiere at the 2016 LA Film Festival on June 2.

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

JG: “FREE CeCe!” is a unique film. We tell the story of CeCe McDonald, a black trans woman who defended herself during a vicious attack only to be incarcerated in a men’s prison.

CeCe emerges as a leader and an inspiration to women everywhere for protecting herself. We see systematic oppression trying to take CeCe’s humanity away, but it ultimately fails, and she rises like her phoenix tattoo.

W&H: What drew you to this story?

JG: Initially, I first heard about CeCe McDonald’s story when I was the show runner for “In The Life” on public television. My team at the show had put together a conversation between Janet Mock and Isis King and they brought up Laverne Cox. This was in 2012.

After directing that conversation, I asked Lyssette Horn, my coordinator, to please get in touch with Laverne Cox so we could ask her to produce a segment with us for “In The Life.” Laverne and I met to develop a treatment and it became clear that CeCe McDonald’s story was so important and critical to confronting the disproportionate violence faced by trans women of color, because she was a survivor.

We met for months getting everything together for a segment, and then “In The Life” ended. I had to tell Laverne we would not be working together after all and it just gutted me. I really felt CeCe’s story needed to be told to a wide audience.

In March of 2013, I saw Laverne speaking at the GLAAD Awards about CeCe McDonald, and at that point I contacted her and said that I wanted to make this story as an independent documentary feature. It was so clear to me that I could use my experience and efforts for a story that I felt needed to be told. I always have sought meaningful work and this story was just calling to be made.

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

JG: I want people to check their own privilege regarding race, class, and gender.

I also want people to be aware of how they can shut down micro-aggressions in everyday life, and understand that systemic oppression is violence. It may be asking a lot, but this is a unique film.

I want viewers to realize the humanity of everyone in this film, especially CeCe. I feel that this is so important today, in this moment, when public accommodations like restrooms are the epicenter of the current culture war. It is exactly that humanity which is neglected by the so-called, religious right.

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

JG: Making this unique film required listening and understanding on a deep level. Making this film changed me as a human being. I had to critically interrogate my own privilege every day, and my reward was a greater awareness and love for humanity. I had to get out of the way — remove myself and lift the voices of the film’s subjects.

Working with Laverne Cox was a blessing! She is a woman full of grace and love. We were always on the same page from the beginning. I wanted to make sure she was present at as many interviews as possible. I wanted her to ask questions as they came up; her voice was so crucial to this film. There was the challenge of finding the time in her schedule to be with us, but we managed to make it work.

There was also the challenge of the subject matter. Just walking down the street following CeCe with a camera, there is so much aggression towards her just for presenting herself to the world everyday. You see some instances of this in the film, but there were others that did not make it in. Witnessing this, with or without a camera, deepened my resolve to make this film and to fight for trans liberation as a cisgender white lesbian.

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

JG: “FREE CeCe!” was made by donations through an IFP Fiscal Sponsorship, two successful crowd-funding campaigns, and generous support from four foundations, including the Ford Foundation. I had the plan at the start to raise enough seed money to get Laverne and I to Minnesota to film CeCe while she was incarcerated in St. Cloud, MN and then go back when she was released. I used footage from the very first interview to create a trailer, which allowed our first crowdfunding campaign to be so successful.

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

JG: The best advice was to start a crowdfunding campaign because it engaged the community about this film. As much work as it took for us to run two successful crowdfunding campaigns, it was so energizing and allowed us to keep working on the film and to keep on schedule.

The worst advice was that people were not ready for this story. So much changed while we made this film and Laverne Cox was on the front lines of that change.

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

JG: Be bold! Trust yourself. Try things out, whether it is on set or in the edit, and give yourself time with your choices before you make a final decision. Sleep on it, live with it. If it does not fit in with your story or your message, you will see it. Give yourself the ability to try different approaches, give the story time to emerge.

Also, ask people you trust — other filmmakers or just smart people you know — to watch what you are putting together. You may find yourself defending things that you may feel one way about one day, then you may come around to see it differently on another. Be open, but keep your vision intact. It is a balancing act. Hopefully you can assemble a great team along the way — collaboration is key.

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

JG: I really loved “CitizenFour,” I voted for it at for the Independent Spirit Awards. I just think Laura Poitras is a gifted, bold woman — a director who is really trying to create social change and it shows.

My favorite moments of that film are when she is filming with Edward Snowden in his hotel room; I really felt for her, with her two cameras set up. I can relate; you want it to be perfect, and often it is just you in the field, especially at some of the most revealing and intimate moments. Poitras managed to make those hotel scenes riveting!

She even kept some levity when the fire alarms start going off — I loved that she chose to include that. It is a brilliant moment. Documentary can be at its most powerful in those moments where you are just capturing an everyday situation, but in the context of a larger issue.