If We Be Friends
Los Angeles, California | Film Feature
Comedy, LGBTQ
When six estranged friends from high school, now in their 30s, reunite for a weekend to remember their recently-passed high school teacher, they find themselves picking up their old conflicts, traumas, and romances where they left them, while wrestling with "mid-life" crises of identity and purpose.
Green Light
This campaign raised $29,705 for production. Follow the filmmaker to receive future updates on this project.
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When six estranged friends from high school, now in their 30s, reunite for a weekend to remember their recently-passed high school teacher, they find themselves picking up their old conflicts, traumas, and romances where they left them, while wrestling with "mid-life" crises of identity and purpose.
About The Project
- The Story
- Wishlist
- Updates
- The Team
- Community
Mission Statement
The Story
 (1).png)
Six estranged friends find themselves spending a weekend together after the passing of their high school theatre director, Bill. While the weekend is meant to be paying tribute to the teacher who changed their lives—their very own Mr. Keating—the focus shifts to the friends' unresolved conflicts, as they desperately try to find ways to re-connect. In dealing with the passing of their teacher, they're also forced to acknowledge the passing of stages in their lives, and process their varying forms of grief. As they struggle with their past and present identities, making a series of self-destructive decisions, they rediscover—if only for a moment—the power of their community and the bond that they used to have.
.png)
I’ve always loved films such as The Breakfast Club, The Big Chill, About Alex (a contemporary take on The Big Chill), Your Sister’s Sister, and The Intervention. They’re all focused on a small ensemble of characters with limited locations. Perhaps it’s because that approach to the storytelling is reminiscent of plays such as August: Osage County and Proof (to name a couple of my favorites), and having spent years in theatre, I’m partial to that construct.
.jpg)
They all have the same approach to the telling of the story, and one of the common denominators is that the characters are brought together by death. It’s a simple and effective mode of bringing people together—people who wouldn’t orchestrate a reunion for the sake of having a reunion—for a short but emotionally-heightened period of time. The dark humor and themes of these films, along with the connection these characters eventually make with each other, just might be where the inspiration—back during year-1 of the pandemic—for If We Be Friends came from.
I started writing my film with seven characters in a single location—a house in the mountains. I particularly love this approach to storytelling, and had taken the same route with my 2020 short film, The Hostess, which was told with two characters in one small bathroom. One thing I love about it is that it gives the writer and director more freedom to dive into difficult themes from a character perspective, which allows for more humor and complexities to emerge from each relationship.
.jpg)
An essential element in all of my inspiration films and plays is that the small ensemble of characters is made up of family, friendship (chosen family, as I like to call it), or individuals who may not be friends, but have a strong, established, and emotional relationship to each other (i.e. The Breakfast Club). When creating my own characters (Kirsten, Bel, Gabe, Miles, Nina, Kyle, and Lou) I immediately went to my own high school community and friendships for inspiration. Now, I knew it would be different than the other works I'd seen...and it's very specific...but I couldn't stop asking myself, "how fun would it be to have the characters not be lawyers, grad students, or men in business, but be based my original community of friends—the high school theatre community?" How fun would that be? How would this change the type of humor? How would that allow me to heighten the drama while growing the comedy as well? And what if, instead of a friend or family member passing away, it was an authority figure who had a great hand in how they defined themselves as artists—essentially their identity? Someone like a teacher. I thought back to all of my incredible theatre teachers and directors I've worked with over the years, the lessons I still think about, and the lasting impression they had on me and my friends and classmates.
So the death that would bring these old friends back together would be their influential teacher from high school—when they fell in love with theatre and became defined by their experiences, shaping how they grew up to define themselves as artists. It's very specific...but hey, specificity is more universal. So here goes my group of theatre artists with high school baggage, in a cabin in the woods, all weekend, with a jar of their teacher's ashes.
.png)
I began dabbling and daydreaming about If We Be Friends in 2021, within one year of the start of the pandemic. I threw most of that work away (which I do a lot) and started fresh in 2023 during the writers’ strike, but the first ideas began during a period of extreme isolation.
Like so many, afraid of contracting Covid-19, my friends and I made a practice of keeping our distance from each other throughout 2020 and 2021; work relationships petered out with the swift transition to remote working; creative opportunities were few and far between, and for many, we found ourselves alone, stuck inside our homes for the most part. Everyone was grieving, for a multitude of reasons—loved ones that were lost, families fractured, the time and experiences that were lost, futures that were completely derailed, and many more. All of this while in extreme isolation when we all needed connection and our communities the most.
These are the moments when it’s most important to strengthen and expand our existing communities, simultaneously building new ones; it’s when we need to reach out to people who we’ve drifted away from and call them back in. I know I did my fair share over the past few years, and it has been so rewarding. It’s because of this that I have faith in my community to take part in making this film happen, and help me to reach my goal. It’s also what brought me to the approach I wanted to take in creating this film—bringing together people from my creative community to unite around building this film.
This is the very moment that we need inspiration(and will continue to need even more in the coming days, months, and years) to build community, reach out and connect to each other, surround ourselves, and support one another as we carry our grief. If We Be Friends inspires those very things.
We need more of these films—ones that focus on people like us, who we relate to, who are going through what we're going through. Stories about behavior and concrete struggles that so clearly reflect each individual in our society. 
 (1).png)
Our intention is to film in late October of 2025 in the beautiful mountain town of Idyllwild, CA, and have the film fully completed in early 2026! We’ve begun the pre-production process with an optimistic mindset about attaining our crowdfunding goal, so we will be on schedule to shoot in October. We are so thrilled to have five dedicated and accomplished actors already attached. The casting for our final two cast members will be announced soon! We are also excited to be welcoming our Director of Photography, Derek Fisher!
While we prepare for our October goal, the next steps are contingent upon reaching our funding goal so we can pay our cast and crew, rent the equipment, insure everything, and more.
This campaign is to fund our production budget. Once production is completed, the next step will be funding and completing post-production. For those who have reached the Preview Night incentive, that’s when we will host the private screening for you. After completion, our plan for If We Be Friends is to go on the festival circuit, eventually getting distribution so that you can watch it on your own TV!
But, to achieve any of that, first we have to reach our crowdfunding goal of $37,000.
 (2).png)
As mentioned, we are raising for our production budget.
Help us surpass our Production goal and fund the entire film, beginning to end!
Post-Production
$10,000
Festival Submissions
$3,000
Pledge!
Pledge to make a donation to our campaign! Whether you pledge $2,000 or $15, we mean it when we say every dollar counts. Don't forget to visit our Incentive page!
Sharing and Following are critical parts of our crowdfunding campaign—in fact, it's how crowdfunding works! It's about getting the word out, telling friends and family about the campaign, and getting as many eyeballs on it as possible. It's also the perfect way to contribute if you aren't able to make a financial contribution!
Share!
Share our campaign! The more people who see this, the greater our chances are of reaching our goal! This can be talking to friends and family, re-posting, sharing on your stories, or all of the above (preferably)! Think of it this way: If 1,000 people donate $37 we’ll reach our goal! Not so scary, but it requires thousands of shares to get those donations.
This is why we need your support!
Follow!
Follow us on Seed&Spark as well as Instagram! This is where you can see our progress and share our updates!
What do I say?
Here are some ideas for what you can say to share our campaign:
- My friend Rosie is crowdfunding for her feature film @ifwebefriendsfilm and I'm so excited for it! Find out more on the @seedandspark page seedandspark.com/fund/if-we-be-friends #IfWeBeFriendsFilm
- So excited to support @ifwebefriendsfilm and indie #femalefilmmakers on this character-focused dramedy project #IfWeBeFriendsFilm on @seedandspark! Join them here: seedandspark.com/fund/if-we-be-friends
Thank you to all who read this, donate, and share!
Thank you for supporting me and coming along for this journey!
"Give me your hands, if we be friends,
And Robin shall restore amends."
- A Midsummer Night's Dream
...............
" Let's do this!"
- Me
Wishlist
Use the WishList to Pledge cash and Loan items - or - Make a pledge by selecting an Incentive directly.
Talent
Costs $8,140
We have assembled a stellar cast of actors, a part of SAG! (Dino Petrera, Kylie Sparks, Bri Oglu, Scott Alda Coffey, and Rosalie Alspach)
Location
Costs $4,440
Our film is set in house in the mountains—the house can be referred to as the 8th character. Help us secure the perfect location!
Feeding the Cast & Crew
Costs $4,440
This portion of the budget is for feeding the cast and crew so we can keep our energy strong all day and make an incredible film!
Crew
Costs $11,840
It takes an exceptional crew to work fast and be able to improvise while delivering top notch visuals and sound.
Equipment
Costs $2,590
The quality of equipment makes the difference between a professional film and...not. This is for camera, lenses, sound...the necessities.
Production Essentials
Costs $5,550
The essentials range from external hard drives to store the film on to insurance. These are materials we can't start production without.
Cash Pledge
Costs $0
Direct link:
Share this update!
About This Team
Rosalie Alspach
(she/her)
Writer/Director/Actor
Rosalie Alspach is an award-winning LA-based writer, director, and actor. She grew up in Ashland, OR where she was introduced to the power of theatre and creative community. She received her B.A. in Theatre (magna cum laude) from Illinois Wesleyan University where she was awarded the Alumni Talent scholarship from Bill Damaschke (Warner Bros Animation President, Producer on Broadway's “Moulin Rouge” and "The Prom"). After moving to LA she began to dig deeper into her multiple areas of interest (acting, writing, and directing) and discovered that more than anything she prefers wearing as many hats as possible on set. Most recently she wrote, directed, produced, and acted in her award-winning short THE HOSTESS (2020); it was selected for 13 film festivals, winning awards for Best Women Film and Best Acting Duo, and an Honorable Mention from New Hollywood Directors film festival.
IF WE BE FRIENDS (selected for screenplay competitions at the White Rose Festival and the Georgia Comedy Festival) encompasses all of the aspects that she believes make film and theatre meaningful—the people, the ensemble nature, and the beauty of coming together to create something that is greater than any one individual.
.png)
Matthew Robinson
(he/him)
Producer/Line Producer
Matthew Robinson is an award-winning filmmaker and playwright. A fan of history, sci-fi, horror, and theatre—he often finds fun ways to blend them all together in his stories. Most recently he has directed the horror feature A KILLER HIGH SCHOOL REUNION and the twisted romance short film DOG DAZE. In 2023 he won awards for writing and directing BLOODY, BLOODY CODA. In 2016 he made his debut as a director in theatre at the Hollywood Fringe Festival with the dramedy POLITICALLY CHALLENGED, and in 2019 he won Best Comedy for writing & producing OLIVIA WILDE DOES NOT SURVIVE THE APOCALYPSE at the Hollywood Fringe Festival.
Derek Fisher
(he/him)
Cinematographer
Derek C. Fisher is an award-winning cinematographer based in Los Angeles, CA and Chicago, IL. His work has screened in m festivals all over the world, including Camerimage, Heartland International and Tallgrass Film Festival. Notable works include USE YOUR OUI OUI– ICG Emerging Cinematographer Award, FEAR NOT – Best Narrative Short, Tallgrass Film Festival (2020), LUPE - Audience Award, LA Film Invasion (2020), HYPOTHETICAL - Best Cinematography, Top Indie Film Awards (2018), and more recently AMERICAN WARRIOR(Danny Trejo, Veronica Falcón) - Best Cinematography, Santa Fe Film festival (2024). Derek’s experience and passion for Cinematography is complimented by his work as a camera operator in Films and TV shows such as THE KILLING OF KENNETH CHAMBERLAIN (Paramount+), NORTH OF THE 10 (BET+), THUNDER FORCE (Netflix), WORK IN PROGRESS (Showtime), THE THING ABOUT HARRY (Disney+), and COME AS YOU ARE (Samuel Goldwyn Films) - which premiered at SXSW.
Dino Petrera
(he/they/she)
Actor—Gabe
Dino Petrera is best known for his portrayal of Jonah Sharpe in the Netflix series NEVER HAVE I EVER and has showcased his specialty for queer roles on such hit shows as BROAD CITY and SHAMELESS. He began acting as a child in local plays and musicals which helped him to overcome speech disorders related to a congenital hearing loss. He has accumulated credits on the New York stage and independent film circuits. His experiences being other-ed as a member of the LGBTQIA+ and deaf communities contribute to his fervent advocacy for civil rights and social equality both on screen and off. He holds a BFA in Theatre Performance from Niagara University.
.png)
Scott Alda Coffey
(he/him)
Actor—Miles
Scott Alda Coffey is a Los Angeles based actor and Carnegie Mellon University alumnus. He’s best known for portraying SPC Michael Scusa in THE OUTPOST, directed by Rod Lurie and produced by Millennium Media. He’s reuniting with Millennium films for an upcoming World War 2 movie called LUCKY STRIKE due out later this year. Scott can also be seen in an episode of FX’s BETTER THINGS, as well as the award winning shorts ANACONDA and EXHIBIT A.
Kylie Sparks
(they/them)
Actor—Bel
Kylie Sparks is a queer, nonbinary actor, writer, singer, producer, and organizer originally from Tulsa, OK. Kylie started as a child actor, debuting as the star of IFC Films' PIZZA (winner of the Producer's Award at the Film Independent Spirit Awards), and has steadily worked in Film, Television, Digital, Commercials, Voiceover, and Theatre, most recently on Netflix’s Emmy-winning I THINK YOU SHOULD LEAVE, Fictionz’s BLEED, Dekkoo's I'M FINE, and Fox’s WEIRD LONERS. For SQUARESVILLE, they were nominated for the IAWTV award for Lead Actress in a comedy and shares the Best Ensemble award. They were number one on Comedy TV Is Dead's "Women and Nonbinary Folks to Watch" list.
Bri Oglu
(she/her)
Actor—Nina
Bri Oglu is a LA-based actor and singer-songwriter with a BFA in Acting from Illinois Wesleyan University. Her first feature, CAPTAIN HAGEN’S BED & BREAKFAST, received Best Comedy Feature (NYC Film Festival). She also won Best Acting Duo alongside writer/director Rosalie Alspach in an award-winning short film, THE HOSTESS. As a singer she was signed to Epidemic Sound as a session vocalist and released her debut EP in 2023, accruing over half a million streams on Spotify. She was recognized by Celeb Mix, Music Connection Magazine, Mundane Magazine, and LA Music Review and has performed at the esteemed Troubadour and The Viper Room.
Current Team
Incentives
- The Story
- Wishlist
- Updates
- The Team
- Community
Mission Statement
The Story
Six estranged friends find themselves spending a weekend together after the passing of their high school theatre director, Bill. While the weekend is meant to be paying tribute to the teacher who changed their lives—their very own Mr. Keating—the focus shifts to the friends' unresolved conflicts, as they desperately try to find ways to re-connect. In dealing with the passing of their teacher, they're also forced to acknowledge the passing of stages in their lives, and process their varying forms of grief. As they struggle with their past and present identities, making a series of self-destructive decisions, they rediscover—if only for a moment—the power of their community and the bond that they used to have.
I’ve always loved films such as The Breakfast Club, The Big Chill, About Alex (a contemporary take on The Big Chill), Your Sister’s Sister, and The Intervention. They’re all focused on a small ensemble of characters with limited locations. Perhaps it’s because that approach to the storytelling is reminiscent of plays such as August: Osage County and Proof (to name a couple of my favorites), and having spent years in theatre, I’m partial to that construct.
They all have the same approach to the telling of the story, and one of the common denominators is that the characters are brought together by death. It’s a simple and effective mode of bringing people together—people who wouldn’t orchestrate a reunion for the sake of having a reunion—for a short but emotionally-heightened period of time. The dark humor and themes of these films, along with the connection these characters eventually make with each other, just might be where the inspiration—back during year-1 of the pandemic—for If We Be Friends came from.
I started writing my film with seven characters in a single location—a house in the mountains. I particularly love this approach to storytelling, and had taken the same route with my 2020 short film, The Hostess, which was told with two characters in one small bathroom. One thing I love about it is that it gives the writer and director more freedom to dive into difficult themes from a character perspective, which allows for more humor and complexities to emerge from each relationship.
An essential element in all of my inspiration films and plays is that the small ensemble of characters is made up of family, friendship (chosen family, as I like to call it), or individuals who may not be friends, but have a strong, established, and emotional relationship to each other (i.e. The Breakfast Club). When creating my own characters (Kirsten, Bel, Gabe, Miles, Nina, Kyle, and Lou) I immediately went to my own high school community and friendships for inspiration. Now, I knew it would be different than the other works I'd seen...and it's very specific...but I couldn't stop asking myself, "how fun would it be to have the characters not be lawyers, grad students, or men in business, but be based my original community of friends—the high school theatre community?" How fun would that be? How would this change the type of humor? How would that allow me to heighten the drama while growing the comedy as well? And what if, instead of a friend or family member passing away, it was an authority figure who had a great hand in how they defined themselves as artists—essentially their identity? Someone like a teacher. I thought back to all of my incredible theatre teachers and directors I've worked with over the years, the lessons I still think about, and the lasting impression they had on me and my friends and classmates.
So the death that would bring these old friends back together would be their influential teacher from high school—when they fell in love with theatre and became defined by their experiences, shaping how they grew up to define themselves as artists. It's very specific...but hey, specificity is more universal. So here goes my group of theatre artists with high school baggage, in a cabin in the woods, all weekend, with a jar of their teacher's ashes.
I began dabbling and daydreaming about If We Be Friends in 2021, within one year of the start of the pandemic. I threw most of that work away (which I do a lot) and started fresh in 2023 during the writers’ strike, but the first ideas began during a period of extreme isolation.
Like so many, afraid of contracting Covid-19, my friends and I made a practice of keeping our distance from each other throughout 2020 and 2021; work relationships petered out with the swift transition to remote working; creative opportunities were few and far between, and for many, we found ourselves alone, stuck inside our homes for the most part. Everyone was grieving, for a multitude of reasons—loved ones that were lost, families fractured, the time and experiences that were lost, futures that were completely derailed, and many more. All of this while in extreme isolation when we all needed connection and our communities the most.
These are the moments when it’s most important to strengthen and expand our existing communities, simultaneously building new ones; it’s when we need to reach out to people who we’ve drifted away from and call them back in. I know I did my fair share over the past few years, and it has been so rewarding. It’s because of this that I have faith in my community to take part in making this film happen, and help me to reach my goal. It’s also what brought me to the approach I wanted to take in creating this film—bringing together people from my creative community to unite around building this film.
This is the very moment that we need inspiration(and will continue to need even more in the coming days, months, and years) to build community, reach out and connect to each other, surround ourselves, and support one another as we carry our grief. If We Be Friends inspires those very things.
We need more of these films—ones that focus on people like us, who we relate to, who are going through what we're going through. Stories about behavior and concrete struggles that so clearly reflect each individual in our society.
Our intention is to film in late October of 2025 in the beautiful mountain town of Idyllwild, CA, and have the film fully completed in early 2026! We’ve begun the pre-production process with an optimistic mindset about attaining our crowdfunding goal, so we will be on schedule to shoot in October. We are so thrilled to have five dedicated and accomplished actors already attached. The casting for our final two cast members will be announced soon! We are also excited to be welcoming our Director of Photography, Derek Fisher!
While we prepare for our October goal, the next steps are contingent upon reaching our funding goal so we can pay our cast and crew, rent the equipment, insure everything, and more.
This campaign is to fund our production budget. Once production is completed, the next step will be funding and completing post-production. For those who have reached the Preview Night incentive, that’s when we will host the private screening for you. After completion, our plan for If We Be Friends is to go on the festival circuit, eventually getting distribution so that you can watch it on your own TV!
But, to achieve any of that, first we have to reach our crowdfunding goal of $37,000.
As mentioned, we are raising for our production budget.
Help us surpass our Production goal and fund the entire film, beginning to end!
Post-Production
$10,000
Festival Submissions
$3,000
Pledge!
Pledge to make a donation to our campaign! Whether you pledge $2,000 or $15, we mean it when we say every dollar counts. Don't forget to visit our Incentive page!
Sharing and Following are critical parts of our crowdfunding campaign—in fact, it's how crowdfunding works! It's about getting the word out, telling friends and family about the campaign, and getting as many eyeballs on it as possible. It's also the perfect way to contribute if you aren't able to make a financial contribution!
Share!
Share our campaign! The more people who see this, the greater our chances are of reaching our goal! This can be talking to friends and family, re-posting, sharing on your stories, or all of the above (preferably)! Think of it this way: If 1,000 people donate $37 we’ll reach our goal! Not so scary, but it requires thousands of shares to get those donations.
This is why we need your support!
Follow!
Follow us on Seed&Spark as well as Instagram! This is where you can see our progress and share our updates!
What do I say?
Here are some ideas for what you can say to share our campaign:
- My friend Rosie is crowdfunding for her feature film @ifwebefriendsfilm and I'm so excited for it! Find out more on the @seedandspark page seedandspark.com/fund/if-we-be-friends #IfWeBeFriendsFilm
- So excited to support @ifwebefriendsfilm and indie #femalefilmmakers on this character-focused dramedy project #IfWeBeFriendsFilm on @seedandspark! Join them here: seedandspark.com/fund/if-we-be-friends
Thank you to all who read this, donate, and share!
Thank you for supporting me and coming along for this journey!
"Give me your hands, if we be friends,
And Robin shall restore amends."
- A Midsummer Night's Dream
...............
" Let's do this!"
- Me
Wishlist
Use the WishList to Pledge cash and Loan items - or - Make a pledge by selecting an Incentive directly.
Talent
Costs $8,140
We have assembled a stellar cast of actors, a part of SAG! (Dino Petrera, Kylie Sparks, Bri Oglu, Scott Alda Coffey, and Rosalie Alspach)
Location
Costs $4,440
Our film is set in house in the mountains—the house can be referred to as the 8th character. Help us secure the perfect location!
Feeding the Cast & Crew
Costs $4,440
This portion of the budget is for feeding the cast and crew so we can keep our energy strong all day and make an incredible film!
Crew
Costs $11,840
It takes an exceptional crew to work fast and be able to improvise while delivering top notch visuals and sound.
Equipment
Costs $2,590
The quality of equipment makes the difference between a professional film and...not. This is for camera, lenses, sound...the necessities.
Production Essentials
Costs $5,550
The essentials range from external hard drives to store the film on to insurance. These are materials we can't start production without.
Cash Pledge
Costs $0
Direct link:
Share this update!
About This Team
Rosalie Alspach
(she/her)
Writer/Director/Actor
Rosalie Alspach is an award-winning LA-based writer, director, and actor. She grew up in Ashland, OR where she was introduced to the power of theatre and creative community. She received her B.A. in Theatre (magna cum laude) from Illinois Wesleyan University where she was awarded the Alumni Talent scholarship from Bill Damaschke (Warner Bros Animation President, Producer on Broadway's “Moulin Rouge” and "The Prom"). After moving to LA she began to dig deeper into her multiple areas of interest (acting, writing, and directing) and discovered that more than anything she prefers wearing as many hats as possible on set. Most recently she wrote, directed, produced, and acted in her award-winning short THE HOSTESS (2020); it was selected for 13 film festivals, winning awards for Best Women Film and Best Acting Duo, and an Honorable Mention from New Hollywood Directors film festival.
IF WE BE FRIENDS (selected for screenplay competitions at the White Rose Festival and the Georgia Comedy Festival) encompasses all of the aspects that she believes make film and theatre meaningful—the people, the ensemble nature, and the beauty of coming together to create something that is greater than any one individual.
Matthew Robinson
(he/him)
Producer/Line Producer
Matthew Robinson is an award-winning filmmaker and playwright. A fan of history, sci-fi, horror, and theatre—he often finds fun ways to blend them all together in his stories. Most recently he has directed the horror feature A KILLER HIGH SCHOOL REUNION and the twisted romance short film DOG DAZE. In 2023 he won awards for writing and directing BLOODY, BLOODY CODA. In 2016 he made his debut as a director in theatre at the Hollywood Fringe Festival with the dramedy POLITICALLY CHALLENGED, and in 2019 he won Best Comedy for writing & producing OLIVIA WILDE DOES NOT SURVIVE THE APOCALYPSE at the Hollywood Fringe Festival.
Derek Fisher
(he/him)
Cinematographer
Derek C. Fisher is an award-winning cinematographer based in Los Angeles, CA and Chicago, IL. His work has screened in m festivals all over the world, including Camerimage, Heartland International and Tallgrass Film Festival. Notable works include USE YOUR OUI OUI– ICG Emerging Cinematographer Award, FEAR NOT – Best Narrative Short, Tallgrass Film Festival (2020), LUPE - Audience Award, LA Film Invasion (2020), HYPOTHETICAL - Best Cinematography, Top Indie Film Awards (2018), and more recently AMERICAN WARRIOR(Danny Trejo, Veronica Falcón) - Best Cinematography, Santa Fe Film festival (2024). Derek’s experience and passion for Cinematography is complimented by his work as a camera operator in Films and TV shows such as THE KILLING OF KENNETH CHAMBERLAIN (Paramount+), NORTH OF THE 10 (BET+), THUNDER FORCE (Netflix), WORK IN PROGRESS (Showtime), THE THING ABOUT HARRY (Disney+), and COME AS YOU ARE (Samuel Goldwyn Films) - which premiered at SXSW.
Dino Petrera
(he/they/she)
Actor—Gabe
Dino Petrera is best known for his portrayal of Jonah Sharpe in the Netflix series NEVER HAVE I EVER and has showcased his specialty for queer roles on such hit shows as BROAD CITY and SHAMELESS. He began acting as a child in local plays and musicals which helped him to overcome speech disorders related to a congenital hearing loss. He has accumulated credits on the New York stage and independent film circuits. His experiences being other-ed as a member of the LGBTQIA+ and deaf communities contribute to his fervent advocacy for civil rights and social equality both on screen and off. He holds a BFA in Theatre Performance from Niagara University.
Scott Alda Coffey
(he/him)
Actor—Miles
Scott Alda Coffey is a Los Angeles based actor and Carnegie Mellon University alumnus. He’s best known for portraying SPC Michael Scusa in THE OUTPOST, directed by Rod Lurie and produced by Millennium Media. He’s reuniting with Millennium films for an upcoming World War 2 movie called LUCKY STRIKE due out later this year. Scott can also be seen in an episode of FX’s BETTER THINGS, as well as the award winning shorts ANACONDA and EXHIBIT A.
Kylie Sparks
(they/them)
Actor—Bel
Kylie Sparks is a queer, nonbinary actor, writer, singer, producer, and organizer originally from Tulsa, OK. Kylie started as a child actor, debuting as the star of IFC Films' PIZZA (winner of the Producer's Award at the Film Independent Spirit Awards), and has steadily worked in Film, Television, Digital, Commercials, Voiceover, and Theatre, most recently on Netflix’s Emmy-winning I THINK YOU SHOULD LEAVE, Fictionz’s BLEED, Dekkoo's I'M FINE, and Fox’s WEIRD LONERS. For SQUARESVILLE, they were nominated for the IAWTV award for Lead Actress in a comedy and shares the Best Ensemble award. They were number one on Comedy TV Is Dead's "Women and Nonbinary Folks to Watch" list.
Bri Oglu
(she/her)
Actor—Nina
Bri Oglu is a LA-based actor and singer-songwriter with a BFA in Acting from Illinois Wesleyan University. Her first feature, CAPTAIN HAGEN’S BED & BREAKFAST, received Best Comedy Feature (NYC Film Festival). She also won Best Acting Duo alongside writer/director Rosalie Alspach in an award-winning short film, THE HOSTESS. As a singer she was signed to Epidemic Sound as a session vocalist and released her debut EP in 2023, accruing over half a million streams on Spotify. She was recognized by Celeb Mix, Music Connection Magazine, Mundane Magazine, and LA Music Review and has performed at the esteemed Troubadour and The Viper Room.