LINEAGE
Los Angeles, California | Film Short
Drama
In this short film based on the life of her grandmother, writer/director Michelle West takes us back to 1932 when 10-yo Betty discovers her mother recently had an abortion. LINEAGE will explore if this young girl can disrupt the cycle of silence about abortion that women were condemned to back then.
LINEAGE
Los Angeles, California | Film Short
Drama
2 Campaigns | California, United States
Green Light
This campaign raised $37,955 for production. Follow the filmmaker to receive future updates on this project.
404 supporters | followers
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In this short film based on the life of her grandmother, writer/director Michelle West takes us back to 1932 when 10-yo Betty discovers her mother recently had an abortion. LINEAGE will explore if this young girl can disrupt the cycle of silence about abortion that women were condemned to back then.
About The Project
- The Story
- Wishlist
- Updates
- The Team
- Community
Mission Statement
The Story
LINEAGE evolved from the kind of generational storytelling where only memories carry the remaining traces of the values, victories, and vices of those in our ancestry.
I learned how Nana met Pop, and about the challenges that plagued Nana's mother, my great-grandmother, who had several life-risking abortions during the Great Depression.
Also... Nana found a fetus in a jar...
Wasn't expecting that one.
There's not a lot of information, and it must've been 30+ years until Nana even told anyone. So I wondered...
What happens when this kind of traumatic experience is left unresolved?
How do secrets affect generations?
What if women weren't silenced?
Betty, 10, is the dutiful, young caretaker of her Depression-era family. After witnessing a brutal fight between her parents, Betty is harshly reprimanded for breaking the rules and discovering her mother was hiding the remains of a recent illegal abortion.
Feeling powerless and terrified, Betty is forced to process truths about womanhood that are well beyond her years.
She must decide whether to swallow her feelings and never speak about it again, as her mother demands, or courageously confront this secret before it tears everyone apart.
When I heard the story that evolved into this film, it struck me how severe the circumstances must have been for my great-grandmother to make such incomprehensible decisions.
This led me deep into the landscape of women's reproductive rights, the Great Depression, and a patriarchal societal structure. This was a time when being a woman also meant being obligated to your husband and shamed for having a voice.
Shame is an epigenetic inheritance of many women, and something that will live on if we don't start speaking about it with courage and compassion.
By sharing the story of Nana and her mother, and giving them a voice, I hope to break a cycle of silence and shame within my family.
I hope this film can be a reminder of what women went through not that long ago, and the fundamental rights we're still fighting for that are as crucial as ever.
Most importantly, I hope we can see ourselves in Betty, and realize everyone has the power to shift their lineage through empathy, healing, and love.
Capturing the time period in LINEAGE is about balancing resourcefulness with scarcity. While Betty's family didn't have much, they learned to make the most of what they had.
Much of the set decoration will be governed by the location. Floral prints, light window dressings and warm colors will define the main room.
Costumes will be minimal, representing the humble and hardworking nature of the characters.
A Minnesota native, Michelle has worked on over 20 film and TV projects as an assistant director; on countless commercials, features, and digital media in various production roles; and is a member of the Director’s Guild of America. A graduate of the UCLA TFT Program for Acting she has performed in numerous commercials and independent films. Michelle taught yoga in federal prisons for five years and is also the Program Manager for Columbia College Chicago’s Semester in LA.
Daniel is a graduate of the AFI Conservatory with a master’s degree in cinematography. He’s shot commercials for Ford, AT&T, Wendy’s and Old Spice, to name a few. He’s filmed over 25 narrative projects, including the short film SUNDAY DINNER, winner of the Audience Award for Best Narrative Short at the Ashland Independent Film Festival.
Tammy is a graduate of the Rhode Island School of Design and has been working in feature film set design for over 15 years. She's worked for major studios including Sony, Warner Brothers, and Universal, and her dog Ozzie is amazing at catching balls mid-leap.
Brian has been composing music for commercials, film, and television for over 20 years. His work with Beacon Street Studios of Venice, CA, has been honored with Emmy, Clio, Telly, and AICP awards. He is a founding member of the band The Greenhorn Brothers based out of Topanga, CA, and an incredible father to three brilliant children.
Brenda is a seasoned producer with experience in documentaries, narrative, commercials, digital, music videos, live events, and esports. BETWEEN US and THE FIXER both premiered at the 2016 Tribeca Film Festival. She has freelanced for studios including Fox, Sony, Warner Brothers, and Lionsgate, and worked as a budget analyst for the California Film Commission. She is also a kick-ass pilates instructor.
Geri is an actor, voiceover artist, and director. She created the digital action comedy show, JAMES BLONDES, as well as the live monthly comedy show, THE UNSUPERVISED SKETCH SHOW. She has hosted over 70 episodes of the sex-positive podcast FINDING MY YUM, and can be seen on TV in shows including BETTER CALL SAUL, ATYPICAL, and SCREAM QUEENS. Geri is an intersectional feminist, activist, and is committed to creating thought-provoking, joyful, and boundary-pushing content.
Rachel Stander is a producer dedicated to cultivating and shepherding stories about challenging, complex women. She is in pre-production on the feature film, SCRAP, and produced LYSISTRATA 2.0, a PSA-style get-out-the-vote short film. Before her work as a producer, she was an actor. Before that, she was a dancer. And before that, she was really good at climbing trees.
WE NEED YOUR CONTRIBUTION!
In a nutshell...
Now is not the time to ask my friends for freebies. The pandemic has drastically reduced work for cast and crew and we want to honor their efforts during this crisis.
Now more than ever it's vital to support the filmmaking community by compensating everyone fairly.
Additionally, we're adhering to the health and safety protocols as governed by the unions.
Thank you for supporting this film!
There are many viable and worthy ways to contribute to the world right now, and this is a small way we know how. With your help we can tell a story that is cathartic, impactful, and hopeful – and important for people to see right now.
Nana would be proud.
Wishlist
Use the WishList to Pledge cash and Loan items - or - Make a pledge by selecting an Incentive directly.
Location
Costs $5,000
Most of our production design depends on an amazing location! Old and authentically 1920s.
Production Insurance
Costs $2,500
So we can rent the location and equipment.
Props
Costs $2,000
To create specialty period items.
Meals
Costs $1,000
To feed the folks.
Camera package
Costs $1,500
Camera and lenses.
Grip and Lighting
Costs $3,000
For lighting set-ups.
Costumes
Costs $1,000
Costume rentals.
Transportation
Costs $1,000
Truck rental, fuel, people mover, etc.
Wages
Costs $18,000
To pay our talented people.
Cash Pledge
Costs $0
Direct link:
Share this update!
About This Team
A Minnesota native, Michelle has worked on over 20 film and TV projects as an assistant director; on countless commercials, features, and digital media in various production roles; and is a member of the Director’s Guild of America. A graduate of the UCLA TFT Program for Acting she has performed in numerous commercials and independent films. Michelle taught yoga in federal prisons for five years and is also the Program Manager for Columbia College Chicago’s Semester in LA.
Daniel is a graduate of the AFI Conservatory with a master’s degree in cinematography. He’s shot commercials for Ford, AT&T, Wendy’s and Old Spice, to name a few. He’s filmed over 25 narrative projects, including the short film SUNDAY DINNER, winner of the Audience Award for Best Narrative Short at the Ashland Independent Film Festival.
Tammy is a graduate of the Rhode Island School of Design and has been working in feature film set design for over 15 years. She's worked for major studios including Sony, Warner Brothers, and Universal, and her dog Ozzie is amazing at catching balls mid-leap.
Brian has been composing music for commercials, film, and television for over 20 years. His work with Beacon Street Studios of Venice, CA, has been honored with Emmy, Clio, Telly, and AICP awards. He is a founding member of the band The Greenhorn Brothers based out of Topanga, CA, and an incredible father to three brilliant children.
Brenda is a seasoned producer with experience in documentaries, narrative, commercials, digital, music videos, live events, and esports. BETWEEN US and THE FIXER both premiered at the 2016 Tribeca Film Festival. She has freelanced for studios including Fox, Sony, Warner Brothers, and Lionsgate, and worked as a budget analyst for the California Film Commission. She is also a kick-ass pilates instructor.
Geri is an actor, voiceover artist, and director. She created the digital action comedy show, JAMES BLONDES, as well as the live monthly comedy show, THE UNSUPERVISED SKETCH SHOW. She has hosted over 70 episodes of the sex-positive podcast FINDING MY YUM, and can be seen on TV in shows including BETTER CALL SAUL, ATYPICAL, and SCREAM QUEENS. Geri is an intersectional feminist, activist, and is committed to creating thought-provoking, joyful, and boundary-pushing content.
Rachel Stander is a producer dedicated to cultivating and shepherding stories about challenging, complex women. She is in pre-production on the feature film, SCRAP, and produced LYSISTRATA 2.0, a PSA-style get-out-the-vote short film. Before her work as a producer, she was an actor. Before that, she was a dancer. And before that, she was really good at climbing trees.
Current Team
Incentives
- The Story
- Wishlist
- Updates
- The Team
- Community
Mission Statement
The Story
LINEAGE evolved from the kind of generational storytelling where only memories carry the remaining traces of the values, victories, and vices of those in our ancestry.
I learned how Nana met Pop, and about the challenges that plagued Nana's mother, my great-grandmother, who had several life-risking abortions during the Great Depression.
Also... Nana found a fetus in a jar...
Wasn't expecting that one.
There's not a lot of information, and it must've been 30+ years until Nana even told anyone. So I wondered...
What happens when this kind of traumatic experience is left unresolved?
How do secrets affect generations?
What if women weren't silenced?
Betty, 10, is the dutiful, young caretaker of her Depression-era family. After witnessing a brutal fight between her parents, Betty is harshly reprimanded for breaking the rules and discovering her mother was hiding the remains of a recent illegal abortion.
Feeling powerless and terrified, Betty is forced to process truths about womanhood that are well beyond her years.
She must decide whether to swallow her feelings and never speak about it again, as her mother demands, or courageously confront this secret before it tears everyone apart.
When I heard the story that evolved into this film, it struck me how severe the circumstances must have been for my great-grandmother to make such incomprehensible decisions.
This led me deep into the landscape of women's reproductive rights, the Great Depression, and a patriarchal societal structure. This was a time when being a woman also meant being obligated to your husband and shamed for having a voice.
Shame is an epigenetic inheritance of many women, and something that will live on if we don't start speaking about it with courage and compassion.
By sharing the story of Nana and her mother, and giving them a voice, I hope to break a cycle of silence and shame within my family.
I hope this film can be a reminder of what women went through not that long ago, and the fundamental rights we're still fighting for that are as crucial as ever.
Most importantly, I hope we can see ourselves in Betty, and realize everyone has the power to shift their lineage through empathy, healing, and love.
Capturing the time period in LINEAGE is about balancing resourcefulness with scarcity. While Betty's family didn't have much, they learned to make the most of what they had.
Much of the set decoration will be governed by the location. Floral prints, light window dressings and warm colors will define the main room.
Costumes will be minimal, representing the humble and hardworking nature of the characters.
A Minnesota native, Michelle has worked on over 20 film and TV projects as an assistant director; on countless commercials, features, and digital media in various production roles; and is a member of the Director’s Guild of America. A graduate of the UCLA TFT Program for Acting she has performed in numerous commercials and independent films. Michelle taught yoga in federal prisons for five years and is also the Program Manager for Columbia College Chicago’s Semester in LA.
Daniel is a graduate of the AFI Conservatory with a master’s degree in cinematography. He’s shot commercials for Ford, AT&T, Wendy’s and Old Spice, to name a few. He’s filmed over 25 narrative projects, including the short film SUNDAY DINNER, winner of the Audience Award for Best Narrative Short at the Ashland Independent Film Festival.
Tammy is a graduate of the Rhode Island School of Design and has been working in feature film set design for over 15 years. She's worked for major studios including Sony, Warner Brothers, and Universal, and her dog Ozzie is amazing at catching balls mid-leap.
Brian has been composing music for commercials, film, and television for over 20 years. His work with Beacon Street Studios of Venice, CA, has been honored with Emmy, Clio, Telly, and AICP awards. He is a founding member of the band The Greenhorn Brothers based out of Topanga, CA, and an incredible father to three brilliant children.
Brenda is a seasoned producer with experience in documentaries, narrative, commercials, digital, music videos, live events, and esports. BETWEEN US and THE FIXER both premiered at the 2016 Tribeca Film Festival. She has freelanced for studios including Fox, Sony, Warner Brothers, and Lionsgate, and worked as a budget analyst for the California Film Commission. She is also a kick-ass pilates instructor.
Geri is an actor, voiceover artist, and director. She created the digital action comedy show, JAMES BLONDES, as well as the live monthly comedy show, THE UNSUPERVISED SKETCH SHOW. She has hosted over 70 episodes of the sex-positive podcast FINDING MY YUM, and can be seen on TV in shows including BETTER CALL SAUL, ATYPICAL, and SCREAM QUEENS. Geri is an intersectional feminist, activist, and is committed to creating thought-provoking, joyful, and boundary-pushing content.
Rachel Stander is a producer dedicated to cultivating and shepherding stories about challenging, complex women. She is in pre-production on the feature film, SCRAP, and produced LYSISTRATA 2.0, a PSA-style get-out-the-vote short film. Before her work as a producer, she was an actor. Before that, she was a dancer. And before that, she was really good at climbing trees.
WE NEED YOUR CONTRIBUTION!
In a nutshell...
Now is not the time to ask my friends for freebies. The pandemic has drastically reduced work for cast and crew and we want to honor their efforts during this crisis.
Now more than ever it's vital to support the filmmaking community by compensating everyone fairly.
Additionally, we're adhering to the health and safety protocols as governed by the unions.
Thank you for supporting this film!
There are many viable and worthy ways to contribute to the world right now, and this is a small way we know how. With your help we can tell a story that is cathartic, impactful, and hopeful – and important for people to see right now.
Nana would be proud.
Wishlist
Use the WishList to Pledge cash and Loan items - or - Make a pledge by selecting an Incentive directly.
Location
Costs $5,000
Most of our production design depends on an amazing location! Old and authentically 1920s.
Production Insurance
Costs $2,500
So we can rent the location and equipment.
Props
Costs $2,000
To create specialty period items.
Meals
Costs $1,000
To feed the folks.
Camera package
Costs $1,500
Camera and lenses.
Grip and Lighting
Costs $3,000
For lighting set-ups.
Costumes
Costs $1,000
Costume rentals.
Transportation
Costs $1,000
Truck rental, fuel, people mover, etc.
Wages
Costs $18,000
To pay our talented people.
Cash Pledge
Costs $0
Direct link:
Share this update!
About This Team
A Minnesota native, Michelle has worked on over 20 film and TV projects as an assistant director; on countless commercials, features, and digital media in various production roles; and is a member of the Director’s Guild of America. A graduate of the UCLA TFT Program for Acting she has performed in numerous commercials and independent films. Michelle taught yoga in federal prisons for five years and is also the Program Manager for Columbia College Chicago’s Semester in LA.
Daniel is a graduate of the AFI Conservatory with a master’s degree in cinematography. He’s shot commercials for Ford, AT&T, Wendy’s and Old Spice, to name a few. He’s filmed over 25 narrative projects, including the short film SUNDAY DINNER, winner of the Audience Award for Best Narrative Short at the Ashland Independent Film Festival.
Tammy is a graduate of the Rhode Island School of Design and has been working in feature film set design for over 15 years. She's worked for major studios including Sony, Warner Brothers, and Universal, and her dog Ozzie is amazing at catching balls mid-leap.
Brian has been composing music for commercials, film, and television for over 20 years. His work with Beacon Street Studios of Venice, CA, has been honored with Emmy, Clio, Telly, and AICP awards. He is a founding member of the band The Greenhorn Brothers based out of Topanga, CA, and an incredible father to three brilliant children.
Brenda is a seasoned producer with experience in documentaries, narrative, commercials, digital, music videos, live events, and esports. BETWEEN US and THE FIXER both premiered at the 2016 Tribeca Film Festival. She has freelanced for studios including Fox, Sony, Warner Brothers, and Lionsgate, and worked as a budget analyst for the California Film Commission. She is also a kick-ass pilates instructor.
Geri is an actor, voiceover artist, and director. She created the digital action comedy show, JAMES BLONDES, as well as the live monthly comedy show, THE UNSUPERVISED SKETCH SHOW. She has hosted over 70 episodes of the sex-positive podcast FINDING MY YUM, and can be seen on TV in shows including BETTER CALL SAUL, ATYPICAL, and SCREAM QUEENS. Geri is an intersectional feminist, activist, and is committed to creating thought-provoking, joyful, and boundary-pushing content.
Rachel Stander is a producer dedicated to cultivating and shepherding stories about challenging, complex women. She is in pre-production on the feature film, SCRAP, and produced LYSISTRATA 2.0, a PSA-style get-out-the-vote short film. Before her work as a producer, she was an actor. Before that, she was a dancer. And before that, she was really good at climbing trees.