Thank you for taking the time to learn more. This project is the result of tireless groundwork from a tight group of committed, working artists, all up-and-coming in our respective fields, all doing this for the love of the film and the form. We’re so close to making this happen, and calling upon our community to help us close the gap. Our $15,000 goal will get us through our summer 2026 NYC shoot and launch us into the post-production that will immediately follow on this low-budget, Most Favored Nations model short.

As this is an all-or-nothing campaign, and we'll need to meet 80% of this goal to keep our funds, we sincerely hope you'll consider donating, and we're grateful for your consideration. You can also show support by emailing us with any other connection/outreach/in-kind support ideas! [email protected]

Love,

Gabi, Evan, Emmi, and Johanna.

From the way we walk to the way we touch, movement is the body’s first and most universal language; it’s our way of relating to what came before us and the unknown into which we’re collectively stepping. The short we are bringing forward for your consideration encapsulates this core artistic truth: Movement is everything.

Glad You’re Here follows one night with Riley (Cole Doman) as he unexpectedly collides with his core heartbreak, Ben (Brandon Flynn), at a dinner party.

It's a simple setup, a universal feeling, boldly explored. Our story is told through heightened, choreographed movements that weave their way into the film subtly, then explode all at once.

This film investigates the imprint certain loves leave upon you-- the way pain and intimacy are stored in our very muscles. This film asks...

Why are there certain loves our bodies can't forget?

RILEY, a not-so-seasoned New Yorker, navigates the city (and his twenties) alone. We join him as he bravely arrives at a dinner party where he expects to know only the hosts, MARGOT (Tommy Dorfman) and ALICE.

As Riley makes his way into the party, choreographed synchronicities occur all around him.

Everyone is on the same beat, but Riley can't seem to catch it.

Upon entry, Riley is embraced. These happy-go-lucky Brooklynites are proverbially (and literally) dancing through life. Their joy and warmth are infectious. 

These friends share their own rhythm... At moments, their movements elevate into fluid synchronicity.

Riley is starting to fall into step, that is, until the moment he locks eyes with the last person he expects to see... Ben. His core heartbreak. Someone with whom he once shared years of intimacy. Someone who disappeared from his life with little explanation. If things between them were undefined back then... they're about to get even messier now.

Ben knows how to make every space feel like his own, and every person feel like the center of the universe.

At least for a little while.

Everyone chats, eats, and drinks heavily, Ben and Riley are entranced by one another. They are hyper-aware of the others' every move. Every shared touch is electrifying.

When Ben and Riley find themselves alone, their familiar old banter returns, and tensions rise beneath the surface. Soon, old wounds are reopened. Riley and Ben's frustrations and desires erupt into a tactile, expressive, complex duet. Riley must make a choice: fall back into Ben… or claim his own seat at the table.

Dance reveals the emotional truths our characters can't speak, transforming this dinner's friendly veneer into raw, physical memory. As dance surges to the forefront across industries, we're seizing this cultural moment with choreography that captivates and resonates.

Statement from Director Gabi Carrubba.

My goals as a filmmaker are aligned with those of my personage. My work centers on the unfiltered portrayals of queerness—stories that dive deep into the complex, multifaceted, and beautifully chaotic lives of our familiars. In my first short films, the tender Down by the Water and the explosive BOYHOARDER, I explore the richness of the female experience, striving to capture raw, honest narratives that exist free from outside sexualization or exploitation. My latest short, They're Packing (which premiered at Newfest 2025), embraces the full spectrum of sexuality, while staying true to my core mission: to celebrate queer expression in all its messiness and beauty. The grotesque, the strange, and the intimate are essential parts of our experiences, and I want to ensure these dimensions are allowed to breathe, grow, and celebrate. My films are about fluidity, exploration, and authenticity—showing queerness not as a static, singular thing, but as something always in motion, always shifting, always evolving. There’s no room for oversimplified tropes or overplayed archetypes. Having started my career as an actor, I’ve navigated many environments that felt unsafe. As a director, I am now dedicated to creating spaces where actors and collaborators feel empowered to push boundaries, explore vulnerability, and create freely without fear of judgment. My sets are spaces where hierarchy is dismantled. Every project is OURS, which I believe supports my thesis of recognition and familiarity in my work.

Statement from Choreographer Evan Sagadencky.

My work spans from the stage to music videos, film, and fashion shows, but the ethos always remains the same: movement is everything, and everyone is a dancer. With every project and collaboration comes an opportunity for me to ther this ethos and do my best to connect my collaborators and audiences to their own bodies. My intent is always for people to see themselves and their experiences in my abstractions. I truly just love to dance. It's an honor and a privilege to choreograph on this film and lead our actors to step into their strongest, best versions of themselves through movement.