Laura Brownson worked for nearly 15 years in narrative features and television before turning to documentary film. She is the co-director of the documentary “Lemon,” which won a Special Jury Prize at DOCNYC, screened at over 50 film festivals worldwide, and was broadcast on PBS.

“The Rachel Divide” premiered at the 2018 Tribeca Film Festival on April 23.

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

LB: “The Rachel Divide” is about Rachel Dolezal, the so-called “race-faker” who became infamous when she was unmasked as a white woman living as the black head of her local NAACP chapter in Spokane, Washington. It is an intimate character portrait that ventures far beyond, exploring the zeitgeist of reactions to a white woman who dared claim blackness as her own.

The film considers both sides — those enraged by Rachel, whom they see as a race-appropriating liar who steals attention from more deserving black women and hijacks the causes of racial inequality, versus Rachel herself, who sees her identity as a black woman to be an expression of her truest self.

W&H: What drew you to this story?

LB: I am drawn to complex characters and complicated, even controversial, stories that will challenge me as a filmmaker. These elements existed in spades in a documentary about Rachel Dolezal. As a character, she is unique and layered — the deeper you dig into her person, the more perplexing she becomes, and the more elusive the truth. But I also felt compelled to unpack the larger societal reactions to Rachel.

I wanted to find a way to bring to the screen a film that gave voice to the anger, frustration, and hurt felt by so many in response to Rachel’s identity. Simply, I hoped to bring nuance to the frenzy — on both sides. Or I wanted to find a way to make a balanced film amid the chaos.

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

LB: I’m not looking to change minds or push an agenda with this film. You can leave the theater hating Rachel, loving Rachel, or feeling indifferent towards her. I’d like people to draw their own conclusions.

I simply hope that the film will spark conversation — something that I fear is being lost in our digital world. That conversation can be focused on the big questions asked in the film regarding race and identity politics. Or they can focus on the smaller themes raised, such as the impact of scandal on a family living in our electronic age. Or people may find themselves discussing the specifics of Rachel’s unusual character.

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

LB: I believe that documentary filmmakers have a responsibility to tackle difficult subjects and controversial topics. There are countless examples including, “OJ: Made in America,” “CitizenFour,” “Welcome to Leith.” But in such films, the challenge becomes how to separate the filmmaker and the film from the subject matter. That is clearly our biggest challenge with this project.

My entire team was hyper-aware of the fact that this film dealt with extraordinarily sensitive issues. As such, we all felt a great deal of pressure and personal responsibility to get it right. We wanted to unpack Rachel’s character and her motivations, but it was equally as important that we accurately represent the voices of those that are the most upset with her.

It’s terrifying to work in such a sensitive space, and still somehow find the confidence to make meaningful and brave artistic choices. By definition, documentary filmmakers are sensitive. What makes me a decent filmmaker is my ability to empathize and care. Thus, making a movie, knowing that it will push buttons, has been personally very challenging. At the end of the day, I hope that when people watch the film they will find it to be a fair and balanced portrait.

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

LB: In the beginning, I was basically making the documentary in a vacuum — running and gunning with my small rag-tag crew and financing things on my own dime. After some time, I was able to cut together a sizzle reel, and with the help of Alexis Garcia at WME procure a bit of money through IMG. This money enabled me to keep shooting — as the story was quickly unfolding — and it also allowed me to pull together a bigger team, including Academy Award winner Roger Ross Williams as my executive producer, and Khaliah Neal and Bridget Stokes as my producers.

With my team in place, we pitched the movie to various sources, and eventually Netflix came on board. Having made my first film through the painful process of grant-writing and cobbling together of money from multiple sources, I know — first hand — how lucky I am to have the support of Netflix. It has been an amazing filmmaking experience. I am still pinching myself, and am eternally grateful for their support and confidence in the project and me as a filmmaker.

W&H: What does it mean for you to have your film play at Tribeca Film Festival?

LB: It means a great deal to have my film play at Tribeca. I am so appreciative of Loren Hammonds and Cara Mertes for championing this film. They have been brave and fierce advocates. But it is especially meaningful to me as I was a New Yorker for nearly 10 years. I lived through 9/11, and remember the amazing history of the Tribeca Film Festival, born from the ashes, and created to bring people together and foster understanding.

It is in this spirit that we hope “The Rachel Divide” can bring people together to discuss hard topics, and in so doing find commonality and understanding. I am excited to premiere the film at “home,” and share it with the sophisticated, opinionated, wonderful Tribeca Film Festival audiences.

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

LB: Go for it. This is our moment!

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

LB: There are far too many inspired and breathtaking female directed films to single out just one. But of this past year’s films, I would say “Mudbound,” directed by Dee Rees for it’s gorgeous aesthetic and shocking ability to rip out my heart.

W&H: Hollywood and the global film industry are in the midst of undergoing a major transformation. Many women — and some men — in the industry are speaking publicly about their experiences being assaulted and harassed. What are your thoughts on the #TimesUp movement and the push for equality in the film business?

LB: I applaud each and every brave woman, and man, who has spoken up against sexual harassment in the film industry and beyond. As a woman, I too have endured countless unwanted advances, and been overlooked for positions and recognition that were clearly mine for the taking. I am heartened to think that the world may be changing, and I do believe that there is a shift underway.

However, we must remain vigilant, and continue to speak our truths to battle against all things unfair. Time may be up, but only as long as we continue to make it so!