Radon's Daughters
Santa Fe, New Mexico | Film Feature
Horror, Fantasy
☢️ The fates of two families collide at a toxic Dia de los Muertos celebration in a Uranium-tainted church ☢️ A dark folktale from an all-femme team ☢️ the anti-Oppenheimer ☢️ Sundance Labs finalist ☢️ from the cohost of the official horror film podcast of the Jean Cocteau Cinema ☢️
Radon's Daughters
Santa Fe, New Mexico | Film Feature
Horror, Fantasy
1 Campaigns | New Mexico, United States
24 supporters | followers
Enter the amount you would like to pledge
$70,250
Goal: $100,000 for production
☢️ The fates of two families collide at a toxic Dia de los Muertos celebration in a Uranium-tainted church ☢️ A dark folktale from an all-femme team ☢️ the anti-Oppenheimer ☢️ Sundance Labs finalist ☢️ from the cohost of the official horror film podcast of the Jean Cocteau Cinema ☢️
About The Project
- The Story
- Wishlist
- Updates
- The Team
- Community
Mission Statement
The Story
Nita Iglesias’ mother is one of several women from their small New Mexican village who have mysteriously vanished by the Uranium mines feeding the nearby government lab. She’s desperate for one more reunion as the approach of Dia de los Muertos draws the dead back home—but her brother Isidro, a miner himself, has a darker way of marking the holiday.
As Isidro’s own radioactive seance in the village’s abandoned church pulls a second set of siblings—Karin and Julius Weiss, children of a lab scientist who recently died from his toxic research—into their orbit, the two families' fates fatally intertwine in a ghost story where all the dead have half-lives: but the living are the ones to fear.
The final elements in Uranium’s radioactive line are called “Radon daughters.” It’s a disturbing nickname—but also beautiful. And that metaphor of female family connections hidden inside a core of decay has been my guiding force as I wrote “Radon’s Daughters”—a story which in turn traces back to my own mother.
Late one night in 1994, a stranger from Los Alamos called to tell my mom that our village of Agua Fría, New Mexico was under a “nuclear threat.” At a press conference the next day, she learned that irradiated water from the laundromat a mile upstream—responsible for washing contaminated uniforms from the nearby birthplace of the Atomic Bomb—was flowing through our shared irrigation ditch. Agua Fría was a subsistence farming community. That acequia used to water the beans and corn villagers ate.
I grew up going to water blessings alongside neighbors diagnosed with thyroid cancer in their 20s. Villagers joked about being poisonous. I assumed a sense of invisible danger was part of every childhood. Revisiting those memories as an adult, I found myself responding the same way I did when I made my first feature: turning to horror movies as a safe space to explore real pain. Studying the genre on the horror film podcast I co-host for George R.R. Martin’s Highgarden Entertainment drove home that this was the right format for confronting such fear.
But I quickly realized that while New Mexico is ground zero for the nuclear industry, we haven’t yet told our own stories about the monster we created—and we appear as background at best in movies like “Oppenheimer.” I began obsessing over what a uniquely New Mexican story about our inherited horror might look like. So to create the world of “Radon’s Daughters,” I drew from the local folktales I was raised on: dark fables about Lady Death dragging a cart full of souls across the desert and long-vanished loved ones who haunt the dry riverbanks of the living world.
My intention in making this movie is to share a place-specific horror in a way that is both true to this land and accessible beyond it. So this story is not a literal retelling of my family’s experiences. But it is about intergenerational trauma, environmental racism, and revenants. And it’s a love letter to the people and places I grew up with.
 (12).jpeg)
Radon's Daughters is ready to shoot! The script has been carefully crafted and honed over 4 years of workshopping and table reads, the whole film is storyboarded, the crew is assembled, the locations are chosen, the leads are cast, and much of our pre-production work is already complete thanks to your generous support throughout previous stages of the project. The team is ready to hit the ground running—and we've already begun conversations with several potential distributors to lay the groundwork for an arthouse theatrical release following our festival run. All we need is our green light.
Our goal of $100,000 is the bare minimum we need to cover production costs. Any additional support past that threshold opens up new worlds of possibilities:
- At $105,000 We'll be able to pay for 2 additional crew members to shoot as smoothly efficiently as possible
- At $110,000 We'll be able to rent Siena's dream location (hint: it even comes with its own room full of creepy clown paintings—no set dressing needed!) and bring significant additional production value to the screen
- At $125,000 We'll be able to not only rent that dream location but also provide a weekly pay increase to our entire team—all of whom are working for significantly below their normal professional rates to bring this project to life
- At $150,000 We'll be able to pay for our major post production costs, including sound design, color grading, and VFX
- At $175,000 We'll be able to cover marketing, deliverables, and festival submission and attendance costs to ensure this story reaches the widest possible audience
But even if you can't make a pledge yourself right now (we get it, we promise!), there are plenty of ways to be a part of the journey. You can help by:
- Following us on Instagram at @radonsdaughters (the project's own page) and @blue_prose (our filmmaker and production company)
- Sharing our campaign—and tagging us in your posts/stories/shares!
- Following our campaign here on Seed & Spark—the platform offers all sorts of incentives, including festival submission discounts, for each follower milestone we pass
- Loaning goods and services like equipment, props, locations, etc., or donating meals or housing (check out our Wishlist tab)—in-kind support has just as much impact as cash donations!
Each of the four main characters represents a different mode of mourning.
Julius is a med student who finds himself frozen when his own potential poisoning threatens to lead him down the path of his late father. Karin is a budding installation artist who channels her grief into a seemingly endless art project to avoid addressing it. Isidro uses resources from his work in the Uranium mines to host nihilistic seances—where Karin accompanies him, searching for dark inspiration. And Nita calls the dead back home so desperately in her attempt to reconnect with their vanished mother, she risks a lethal kind of contamination.
Gracie Gillam as Karin Weiss
Those who love a good scare probably know American actor Gracie Gilliam from their “impressively unhinged performance” (Roger Ebert) as Rebecca in SuperHost (Shudder, 2021) when they “cemented [their] place in the horror hall of fame” (Josh at the Movies). Or from their characters in genre favorite shows like SyFy’s Z NATION, Fox’s SCREAM QUEENS, The CW’s THE VAMPIRE DIARIES, and SUPERNATURAL. Gracie’s debut film role was in DreamWorks’ FRIGHT NIGHT, and they’ve acted in indie darlings SOME KIND OF HATE (2015), TALES OF HALLOWEEN (2015), DARK SUMMER (2015), or more recently Tubi’s MURDER AT THE MURDER MYSTERY PARTY (2023). Those who hate a good scare might know Gracie from singing and space/time traveling as Lela in Disney’s TEEN BEACH MOVIE franchise.
Jasper Keen as Julius Weiss
Born in Cuyamungue, New Mexico, Jasper grew up in the high-desert fixing up properties with his family. In the fourth grade he dropped out of school and moved to the Big Island of Hawaii. Upon returning home, he pursued acting at an arts high-school and became the first New Mexican to win the National Young Arts award for theater in 2015. Jasper then attended the School of Drama at The University of North Carolina School of the Arts (UNCSA), currently rated by Hollywood Reporter as the 2nd best drama school worldwide. Professionally, he's appeared at the Toronto International Film Festival (TIFF), SXSW, across multiple networks (HBO, ABC, CBS, The CW, Apple TV+, Amazon) and in high-profile films for A24, BRON, NEON & Netflix.
Three key colors (glass green for cyclicality, deep blue for repression, and marigold orange for restoration) weave vibrancy through the darkness of “Radon’s Daughters.” And given the story’s New Mexican roots, landscapes—the village and its crumbling church, the pristine lab town, and the endless desert surrounding both—are uniquely crucial characters. But tonally, this magic realism-infused world will feel familiar to fans of Alejandro Jodorowsky's SANTA SANGRE or Guillermo del Toro’s THE DEVIL'S BACKBONE.
 (14).jpeg)
Hear the full playlist here!
Previous work from Siena Sofia Bergt and Blue Prose Productions
OPIA, 2020, narrative feature
OPIA is a surreal exploration of the internal landscapes causing suicide clusters on college campuses--executed in memoriam by a crew of young artists who have each lost loved ones themselves.
Currently streaming on Amazon Prime
Wishlist
Use the WishList to Pledge cash and Loan items - or - Make a pledge by selecting an Incentive directly.
Locations
Costs $6,000
What's All Souls Day without an abandoned church to celebrate it in? Includes permit fees. Still from Candyman (1992, dir. Bernard Rose)
Crafty and Catering
Costs $7,000
Film crews are like ghosts: feed them right or it'll come back to haunt you. Still from Pan's Labyrinth (2006, dir. Guillermo del Toro)
Cast
Costs $17,500
It's not a horror movie without our scream queens (and kings)! Still from Twin Peaks: Fire Walk with Me (1992, dir. David Lynch)
Crew
Costs $56,000
Wages for our skeleton crew of femme industry pros, all working at a fraction of their usual rates. Still from X (2022, dir. Ti West)
Mise en Scene
Costs $6,000
Everything you see onscreen that builds the world: props, costumes, set dec, etc. Still from Santa Sangre (1989, dir. Alejandro Jodorowsky)
Equipment and FX
Costs $5,000
Practical FX magic and all we need to capture it right, from shatter glass to fake blood. Still from Ganja & Hess (1973, dir. Bill Gunn)
Insurance
Costs $2,500
No matter how well you prepare, film sets always require expecting the unexpected. Still from Deep Red (1975, dir. Dario Argento)
Share this update!
About This Team
Siena Sofia Bergt—Writer/Director/Producer
Siena is a filmmaker, writer and native of Agua Fria, New Mexico. The daughter of two painters, she trained as an actor for over a decade before finding herself drawn back to visual art through film. She made her narrative feature debut OPIA while attending Columbia University, becoming the first student in the school's history to complete a feature as an undergraduate. OPIA premiered at the Santa Fe International Film Festival before being distributed worldwide by Indie Rights. When not directing or writing, Siena co-hosts the horror film podcast Splice & Splatter for George RR Martin's Highgarden Entertainment and writes award-winning film analysis and journalism; previous accolades include the Andrew Sarris Memorial Award. Her storytelling has elicited stylistic comparisons ranging from Roberto Bolaño’s 2666 to Guillermo del Toro’s PAN’S LABYRINTH.
Ariel Lopez—Producer, Locations Manager
Ariel Lopez is an emerging producer with a strong foundation in location management, bringing over a decade of experience in the film industry. With a background in Sociology from the University of New Mexico, she has worked on high-profile projects like SICARIO, THE CURSE, and WHEN YOU FINISH SAVING THE WORLD, in collaboration with renowned production companies such as A24, Netflix, Sony, and Lionsgate. Her extensive location work has equipped her with a deep understanding of logistics, budgeting, and the intricacies of on-the-ground production, making her a valuable asset to the filmmaking process.
Kerry Myers—Producer, Costume Designer
Kerry Amanda Myers is an Oklahoma born Comanche Filmmaker, Producer, Costume Designer and Visual Artist who currently resides in Santa Fe New Mexico. She is a descendant of Quanah Parker and was raised in Apache Oklahoma. Myers is best known for her work on RESERVATION DOGS, THE CURSE, LOVE LIES BLEEDING, BETTER CALL SAUL, DARK WINDS, CHICKASAW RANCER and SUMMER MACHINE, just to name a few. Her passions lie in filmmaking, beadwork, and painting.
Jenn Garcia—Producer
Jenn Garcia is a Latina producer best known for producing the Academy Award Qualifying shorts, POZOLE and YOCHI. Her work has screened at Cinequest, Seattle International Film Festival, HBO's New York Latino Film Festival, LA Latino Film Festival, and NALIP, among others. She recently worked as the production manager on the features NATIONAL ANTHEM (SXSW), FRYBREAD FACE AND ME (SXSW), and LAND OF DREAMS (Venice Film Festival). Jenn's passion lies in producing films featuring stories surrounding marginalized communities with complex characters. Jenn’s branded work has aired nationally on CBS, the O’Network, and BET.
Alexandra Renzo—Producer
Alexandra Renzo is a theatre- and filmmaker. First performing professionally at the age of 15, Renzo has willfully and stubbornly been immersed in the world of story for all of her life. Half Italian, half Ukrainian hailing from the midwest, now part-city, part-desert dweller. Feature film producing credits include: MEOW WOLF: ORIGIN STORY (SXSW), SELAH AND THE SPADES (Sundance), and SOULMATE(S). Short Films produced recently: LIMINALITY, directed and written by Celeste O'Connor & Mecca McDonald.
Tara Tovarek—Producer
Tara Tovarek works with industry leaders that include Rian Johnson, Walter Hill, Spike Lee, John R. Leonetti, and Joe Carnahan. Tara's production company, Golden Pictures, offers global production services for commercials, branded content, and feature films. She is on George R.R. Martin's Advisory Board for Stagecoach Foundation, as well as a member on the Mayor of Santa Fe's Film and Digital Media Council. Most recently, Tara has been honored with a seat on the Board for the New Mexico Asian Film Festival. Tara is repped by UTA.
Rebeca Duran—Cinematographer
Rebeca is an Albuquerque/Los Angeles based filmmaker from Ciudad Juarez, Mexico. After receiving her B.F.A in Film+Television from NYU - Tisch, Rebeca relocated to New Mexico to work as a filmmaker. Her focus is on compelling narratives with calculated imagery. Recent work includes feature film PAN AMERICAN and Can-Am's "Women on the Road" campaign.
Lana Dvorak—Production Designer
Lana is a production designer and director based in Los Angeles with a passionate focus on queer storytelling. Lana received a BFA from Webster Conservatory where they studied directing and acting. When designing, Lana considers characters’ vibrant nuances and creates worlds that reflect their inner life and human complexities. Since moving to LA in 2019, Lana has directed and designed short films and music videos. Currently, they have two of their films in the festival circuit. Upcoming: set design for COMPLETENESS by Itamar Moses. Favorite PD credits include: QUINNIE: FLOUNDER, PUSSY RIOT: HATE F*CK, WAIT TO TELL MOTHER, FLASHBACK, and SHADY BUG: LIZARD.
Valerie Steinberg—Executive Producer
Valerie was named one of Variety’s “10 Producers to Watch” in 2023. Credits include EP of A24’s THE INSPECTION (Golden Globe Nominee) and EP of Riley Keough’s WAR PONY, which won the Camera D’Or. She has received selections by the Sundance Women In Film Financing Lab, Berlinale Talents, Gotham Week, and Tribeca All Access.
Current Team
Incentives
- The Story
- Wishlist
- Updates
- The Team
- Community
Mission Statement
The Story
Nita Iglesias’ mother is one of several women from their small New Mexican village who have mysteriously vanished by the Uranium mines feeding the nearby government lab. She’s desperate for one more reunion as the approach of Dia de los Muertos draws the dead back home—but her brother Isidro, a miner himself, has a darker way of marking the holiday.
As Isidro’s own radioactive seance in the village’s abandoned church pulls a second set of siblings—Karin and Julius Weiss, children of a lab scientist who recently died from his toxic research—into their orbit, the two families' fates fatally intertwine in a ghost story where all the dead have half-lives: but the living are the ones to fear.
The final elements in Uranium’s radioactive line are called “Radon daughters.” It’s a disturbing nickname—but also beautiful. And that metaphor of female family connections hidden inside a core of decay has been my guiding force as I wrote “Radon’s Daughters”—a story which in turn traces back to my own mother.
Late one night in 1994, a stranger from Los Alamos called to tell my mom that our village of Agua Fría, New Mexico was under a “nuclear threat.” At a press conference the next day, she learned that irradiated water from the laundromat a mile upstream—responsible for washing contaminated uniforms from the nearby birthplace of the Atomic Bomb—was flowing through our shared irrigation ditch. Agua Fría was a subsistence farming community. That acequia used to water the beans and corn villagers ate.
I grew up going to water blessings alongside neighbors diagnosed with thyroid cancer in their 20s. Villagers joked about being poisonous. I assumed a sense of invisible danger was part of every childhood. Revisiting those memories as an adult, I found myself responding the same way I did when I made my first feature: turning to horror movies as a safe space to explore real pain. Studying the genre on the horror film podcast I co-host for George R.R. Martin’s Highgarden Entertainment drove home that this was the right format for confronting such fear.
But I quickly realized that while New Mexico is ground zero for the nuclear industry, we haven’t yet told our own stories about the monster we created—and we appear as background at best in movies like “Oppenheimer.” I began obsessing over what a uniquely New Mexican story about our inherited horror might look like. So to create the world of “Radon’s Daughters,” I drew from the local folktales I was raised on: dark fables about Lady Death dragging a cart full of souls across the desert and long-vanished loved ones who haunt the dry riverbanks of the living world.
My intention in making this movie is to share a place-specific horror in a way that is both true to this land and accessible beyond it. So this story is not a literal retelling of my family’s experiences. But it is about intergenerational trauma, environmental racism, and revenants. And it’s a love letter to the people and places I grew up with.
Radon's Daughters is ready to shoot! The script has been carefully crafted and honed over 4 years of workshopping and table reads, the whole film is storyboarded, the crew is assembled, the locations are chosen, the leads are cast, and much of our pre-production work is already complete thanks to your generous support throughout previous stages of the project. The team is ready to hit the ground running—and we've already begun conversations with several potential distributors to lay the groundwork for an arthouse theatrical release following our festival run. All we need is our green light.
Our goal of $100,000 is the bare minimum we need to cover production costs. Any additional support past that threshold opens up new worlds of possibilities:
- At $105,000 We'll be able to pay for 2 additional crew members to shoot as smoothly efficiently as possible
- At $110,000 We'll be able to rent Siena's dream location (hint: it even comes with its own room full of creepy clown paintings—no set dressing needed!) and bring significant additional production value to the screen
- At $125,000 We'll be able to not only rent that dream location but also provide a weekly pay increase to our entire team—all of whom are working for significantly below their normal professional rates to bring this project to life
- At $150,000 We'll be able to pay for our major post production costs, including sound design, color grading, and VFX
- At $175,000 We'll be able to cover marketing, deliverables, and festival submission and attendance costs to ensure this story reaches the widest possible audience
But even if you can't make a pledge yourself right now (we get it, we promise!), there are plenty of ways to be a part of the journey. You can help by:
- Following us on Instagram at @radonsdaughters (the project's own page) and @blue_prose (our filmmaker and production company)
- Sharing our campaign—and tagging us in your posts/stories/shares!
- Following our campaign here on Seed & Spark—the platform offers all sorts of incentives, including festival submission discounts, for each follower milestone we pass
- Loaning goods and services like equipment, props, locations, etc., or donating meals or housing (check out our Wishlist tab)—in-kind support has just as much impact as cash donations!
Each of the four main characters represents a different mode of mourning.
Julius is a med student who finds himself frozen when his own potential poisoning threatens to lead him down the path of his late father. Karin is a budding installation artist who channels her grief into a seemingly endless art project to avoid addressing it. Isidro uses resources from his work in the Uranium mines to host nihilistic seances—where Karin accompanies him, searching for dark inspiration. And Nita calls the dead back home so desperately in her attempt to reconnect with their vanished mother, she risks a lethal kind of contamination.
Gracie Gillam as Karin Weiss
Those who love a good scare probably know American actor Gracie Gilliam from their “impressively unhinged performance” (Roger Ebert) as Rebecca in SuperHost (Shudder, 2021) when they “cemented [their] place in the horror hall of fame” (Josh at the Movies). Or from their characters in genre favorite shows like SyFy’s Z NATION, Fox’s SCREAM QUEENS, The CW’s THE VAMPIRE DIARIES, and SUPERNATURAL. Gracie’s debut film role was in DreamWorks’ FRIGHT NIGHT, and they’ve acted in indie darlings SOME KIND OF HATE (2015), TALES OF HALLOWEEN (2015), DARK SUMMER (2015), or more recently Tubi’s MURDER AT THE MURDER MYSTERY PARTY (2023). Those who hate a good scare might know Gracie from singing and space/time traveling as Lela in Disney’s TEEN BEACH MOVIE franchise.
Jasper Keen as Julius Weiss
Born in Cuyamungue, New Mexico, Jasper grew up in the high-desert fixing up properties with his family. In the fourth grade he dropped out of school and moved to the Big Island of Hawaii. Upon returning home, he pursued acting at an arts high-school and became the first New Mexican to win the National Young Arts award for theater in 2015. Jasper then attended the School of Drama at The University of North Carolina School of the Arts (UNCSA), currently rated by Hollywood Reporter as the 2nd best drama school worldwide. Professionally, he's appeared at the Toronto International Film Festival (TIFF), SXSW, across multiple networks (HBO, ABC, CBS, The CW, Apple TV+, Amazon) and in high-profile films for A24, BRON, NEON & Netflix.
Three key colors (glass green for cyclicality, deep blue for repression, and marigold orange for restoration) weave vibrancy through the darkness of “Radon’s Daughters.” And given the story’s New Mexican roots, landscapes—the village and its crumbling church, the pristine lab town, and the endless desert surrounding both—are uniquely crucial characters. But tonally, this magic realism-infused world will feel familiar to fans of Alejandro Jodorowsky's SANTA SANGRE or Guillermo del Toro’s THE DEVIL'S BACKBONE.
Hear the full playlist here!
Previous work from Siena Sofia Bergt and Blue Prose Productions
OPIA, 2020, narrative feature
OPIA is a surreal exploration of the internal landscapes causing suicide clusters on college campuses--executed in memoriam by a crew of young artists who have each lost loved ones themselves.
Currently streaming on Amazon Prime
Wishlist
Use the WishList to Pledge cash and Loan items - or - Make a pledge by selecting an Incentive directly.
Locations
Costs $6,000
What's All Souls Day without an abandoned church to celebrate it in? Includes permit fees. Still from Candyman (1992, dir. Bernard Rose)
Crafty and Catering
Costs $7,000
Film crews are like ghosts: feed them right or it'll come back to haunt you. Still from Pan's Labyrinth (2006, dir. Guillermo del Toro)
Cast
Costs $17,500
It's not a horror movie without our scream queens (and kings)! Still from Twin Peaks: Fire Walk with Me (1992, dir. David Lynch)
Crew
Costs $56,000
Wages for our skeleton crew of femme industry pros, all working at a fraction of their usual rates. Still from X (2022, dir. Ti West)
Mise en Scene
Costs $6,000
Everything you see onscreen that builds the world: props, costumes, set dec, etc. Still from Santa Sangre (1989, dir. Alejandro Jodorowsky)
Equipment and FX
Costs $5,000
Practical FX magic and all we need to capture it right, from shatter glass to fake blood. Still from Ganja & Hess (1973, dir. Bill Gunn)
Insurance
Costs $2,500
No matter how well you prepare, film sets always require expecting the unexpected. Still from Deep Red (1975, dir. Dario Argento)
Share this update!
About This Team
Siena Sofia Bergt—Writer/Director/Producer
Siena is a filmmaker, writer and native of Agua Fria, New Mexico. The daughter of two painters, she trained as an actor for over a decade before finding herself drawn back to visual art through film. She made her narrative feature debut OPIA while attending Columbia University, becoming the first student in the school's history to complete a feature as an undergraduate. OPIA premiered at the Santa Fe International Film Festival before being distributed worldwide by Indie Rights. When not directing or writing, Siena co-hosts the horror film podcast Splice & Splatter for George RR Martin's Highgarden Entertainment and writes award-winning film analysis and journalism; previous accolades include the Andrew Sarris Memorial Award. Her storytelling has elicited stylistic comparisons ranging from Roberto Bolaño’s 2666 to Guillermo del Toro’s PAN’S LABYRINTH.
Ariel Lopez—Producer, Locations Manager
Ariel Lopez is an emerging producer with a strong foundation in location management, bringing over a decade of experience in the film industry. With a background in Sociology from the University of New Mexico, she has worked on high-profile projects like SICARIO, THE CURSE, and WHEN YOU FINISH SAVING THE WORLD, in collaboration with renowned production companies such as A24, Netflix, Sony, and Lionsgate. Her extensive location work has equipped her with a deep understanding of logistics, budgeting, and the intricacies of on-the-ground production, making her a valuable asset to the filmmaking process.
Kerry Myers—Producer, Costume Designer
Kerry Amanda Myers is an Oklahoma born Comanche Filmmaker, Producer, Costume Designer and Visual Artist who currently resides in Santa Fe New Mexico. She is a descendant of Quanah Parker and was raised in Apache Oklahoma. Myers is best known for her work on RESERVATION DOGS, THE CURSE, LOVE LIES BLEEDING, BETTER CALL SAUL, DARK WINDS, CHICKASAW RANCER and SUMMER MACHINE, just to name a few. Her passions lie in filmmaking, beadwork, and painting.
Jenn Garcia—Producer
Jenn Garcia is a Latina producer best known for producing the Academy Award Qualifying shorts, POZOLE and YOCHI. Her work has screened at Cinequest, Seattle International Film Festival, HBO's New York Latino Film Festival, LA Latino Film Festival, and NALIP, among others. She recently worked as the production manager on the features NATIONAL ANTHEM (SXSW), FRYBREAD FACE AND ME (SXSW), and LAND OF DREAMS (Venice Film Festival). Jenn's passion lies in producing films featuring stories surrounding marginalized communities with complex characters. Jenn’s branded work has aired nationally on CBS, the O’Network, and BET.
Alexandra Renzo—Producer
Alexandra Renzo is a theatre- and filmmaker. First performing professionally at the age of 15, Renzo has willfully and stubbornly been immersed in the world of story for all of her life. Half Italian, half Ukrainian hailing from the midwest, now part-city, part-desert dweller. Feature film producing credits include: MEOW WOLF: ORIGIN STORY (SXSW), SELAH AND THE SPADES (Sundance), and SOULMATE(S). Short Films produced recently: LIMINALITY, directed and written by Celeste O'Connor & Mecca McDonald.
Tara Tovarek—Producer
Tara Tovarek works with industry leaders that include Rian Johnson, Walter Hill, Spike Lee, John R. Leonetti, and Joe Carnahan. Tara's production company, Golden Pictures, offers global production services for commercials, branded content, and feature films. She is on George R.R. Martin's Advisory Board for Stagecoach Foundation, as well as a member on the Mayor of Santa Fe's Film and Digital Media Council. Most recently, Tara has been honored with a seat on the Board for the New Mexico Asian Film Festival. Tara is repped by UTA.
Rebeca Duran—Cinematographer
Rebeca is an Albuquerque/Los Angeles based filmmaker from Ciudad Juarez, Mexico. After receiving her B.F.A in Film+Television from NYU - Tisch, Rebeca relocated to New Mexico to work as a filmmaker. Her focus is on compelling narratives with calculated imagery. Recent work includes feature film PAN AMERICAN and Can-Am's "Women on the Road" campaign.
Lana Dvorak—Production Designer
Lana is a production designer and director based in Los Angeles with a passionate focus on queer storytelling. Lana received a BFA from Webster Conservatory where they studied directing and acting. When designing, Lana considers characters’ vibrant nuances and creates worlds that reflect their inner life and human complexities. Since moving to LA in 2019, Lana has directed and designed short films and music videos. Currently, they have two of their films in the festival circuit. Upcoming: set design for COMPLETENESS by Itamar Moses. Favorite PD credits include: QUINNIE: FLOUNDER, PUSSY RIOT: HATE F*CK, WAIT TO TELL MOTHER, FLASHBACK, and SHADY BUG: LIZARD.
Valerie Steinberg—Executive Producer
Valerie was named one of Variety’s “10 Producers to Watch” in 2023. Credits include EP of A24’s THE INSPECTION (Golden Globe Nominee) and EP of Riley Keough’s WAR PONY, which won the Camera D’Or. She has received selections by the Sundance Women In Film Financing Lab, Berlinale Talents, Gotham Week, and Tribeca All Access.