An underestimated tap choreographer must fight her surreal and violent hallucinations in order to keep her grip on reality before she loses the biggest opportunity of her life.

Director’s Vision for ‘Shadow Dancer’

The experience of being a female filmmaker can feel like a horror film. We’re constantly criticized for our lack of experience while simultaneously having opportunities ripped away. We’re expected to do more than everyone else while also maintaining perfect eyeliner and a clean home. We must use our voice to tell unique stories but male festival coordinators and critics find that our films can be “too much.”

The story of “Shadow Dancer” is inspired by the difficulty behind making my first feature film. Making any film is a feat, but as a female filmmaker relying mostly on credit card debt, it became outright horrifying. My imposter syndrome felt less like controllable anxiety and more like another human trapped inside my body, screaming to get out. I was constantly fighting for my own voice while simultaneously questioning its worth. This theme of female struggle in a patriarchal society is common, but rarely portrayed in films.

Much like my own experience, Brooke struggles with the confidence to be a true leader. She is told by those around her that she is a female powerhouse but the confidence is rarely there. She relies heavily on her female counterparts but still struggles to stand up to the powerful men in her way.

My first feature film had its world premiere in March 2020 – a uniquely terrible time. Everything was virtual with little opportunity to network or gain traction for my next film. Although it wasn’t the big win I was hoping for, I’m not sure I could have survived the pandemic without it. It connected me to fellow creatives, gave me an opportunity to discuss my passions, and had me constantly busy. The big wins don’t always look like they do in the movies. At least the other movies…

I took my first tap class at the age of three. When most people think of tap dancing, they imagine Broadway-style as made popular by films like “La La Land.” My film, however, leans more into the unsettling tones of ‘Mulholland Drive.’ I’m inspired by choreographers like Michelle Dorrance who explore the darker side of tap, blending rough, chaotic movements with sharp precision.
Most audiences don’t even know that this world of tap exists. It’s exciting to think that we can introduce this medium in a grittier way.

To write a horror film centered around feminism, I really want to pay homage to the women watching. I really want to make a horror film for all the women who grew up dancing. And there are a lot of us.