Numa Perrier is an actress, writer, producer, and director. She is the co-founder of Black&Sexy TV, a production company and streaming platform for television and film projects created by Black filmmakers. She wrote and directed her first short film “Judi: A Series of Memories” in 2005, and in the years since has worked on numerous projects, including the webseries “Hello Cupid” and “Sexless.” She won the 2013 American Black Film Festival Award for creating and writing the TV series “Roomieloverfriends,” and has recently appeared in Showtime’s “SMILF” as Elsie. “Jezebel” is her first feature.
“Jezebel” will premiere at the 2019 SXSW Film Festival on March 9.
W&H: Describe the film for us in your own words.
NP: “Jezebel” is my true story. It shows the slice of life when I lived with my sister in Las Vegas. She helped me discover and grow into my womanhood and sexuality when she introduced me to internet sex work in the late ’90s. The world wide web was very new then and her work as a phone sex operator was shifting into the digital space. She felt I would thrive there and be able to gain financial independence – in other words stop living with her, her boyfriend, her toddler and our brother in a little studio weekly apartment called the Budget Suites.
The film is shot in dual tones. There are two locations: the apartment and the private sex chat rooms. I wanted to show the contrast and complexities of fantasy vs. reality and how those spaces shaped me. At this time, we were also grieving the death of our mother. I dealt with this as a filmmaker with a surreal, almost experimental, approach where we never see the mother, a hospital, or a funeral. The family loss is the backdrop, their survival is the foreground.
W&H: What drew you to this story?
NP: After nearly two years working as a cam girl, I moved to Los Angeles to pursue my acting and filmmaking dreams. I left this behind as my dirty yet fun little secret. In the back of my mind I always felt it would make a good movie. Ten-plus years later, here we are.
W&H: What do you want people to think about when they are leaving the theater?
NP: I’m excited about which ways the conversation and dialogue can go. I still have so many questions myself. I’d like the audience to think about agency vs. exploitation, sexual permissiveness, sex work and its legitimacy, family dynamics, and class and race dynamics.
W&H: What was the biggest challenge in making the film?
NP: My biggest challenge was the perseverance needed throughout post-production. Raising finishing funds and seeing it through to its premiere. A lot of it was managing my own thoughts and feelings and keeping the faith.
W&H: How did you get your film funded? Share some insights into how you got the film made.
NP: We are a micro budget indie. I’ve produced and directed dozens of web series episodes and have experience with how to get it done on a shoe string. That being said, we still needed money.
My sister gave the first round of funding. This got us on our feet and off to Vegas to film. Other producers came on board and chipped in money, and I did a GoFundMe as well, raising about $30,000 there. Then I booked a TV acting gig and gave some of my earnings towards post.
Once the film got into SXSW, I raised an additional $45,000 through executive producers to finalize and pay crew that waited very long for their checks! The entire budget once we distribute will be low six figures.
W&H: What inspired you to become a filmmaker?
NP: I’ve been a writer and actress since I was seven or eight years old. I loved photography and became a photographer when I was 22. Soon after, I tried my hand at directing my first short film.
Making films brings together all of the creative worlds that I love so much. I love every aspect of filmmaking. I’m inspired by the collaboration and all the moving parts going toward a large vision. I’m inspired by the power and emotions that films can stir.
W&H: What’s the best and worst advice you’ve received?
NP: Best advice is shoot the rehearsal. Worst advice is over-rehearsing on set without shooting. This just doesn’t work for me. I do light blocking for camera.
Cast great actors and get in there and get rolling.
W&H: What advice do you have for other female directors?
NP: Follow your impulses and intuition – this is what we have that the other side doesn’t. Laugh at insults.
W&H: Name your favorite woman-directed film and why.
NP: “Sherrybaby” by Laurie Collyer. I watched this movie and just cried and cried. It was so raw, so honest. It was painful and funny and sexual. I love this film. There are more I love but this one stands out right now. I’m still so moved by it.
Agnès Varda’s “Cléo from 5 to 7” is also a fave. I’m very excited to see the feature version of “Afronauts” by Frances Bodomo. The short was just stunning.
There are many women directors whose films have moved me deeply, including Kasi Lemmons’ “Eve’s Bayou” and “The Rider” by Chloé Zhao. I can’t wait to see Nia DaCosta’s “Little Woods.” I’d happily go on a diet of watching films by women only for a year.
W&H: It’s been a little over a year since the reckoning in Hollywood and the global film industry began. What differences have you noticed since the #MeToo and #TimesUp movements launched?
NP: I see changes in the system happening and that’s really the key. Inclusion riders, the 4% Challenge – these commitments are what makes the movements firm and sustainable. For many of us Black creatives and women, LGBTQ – we’ve already been hiring each other and supporting each other within our own systems. Now this is expanding, and the public accountability is there and increasing for the system at large.
