When The Porch Light Flickers
Chicago, Illinois | Film Short
Sci-Fi, Family
When the Porch Light Flickers is a proof-of-concept sci-fi short that showcases how our labor often isolates and distracts us from how absurd our reality is. Support for this project allows me to reconcile with my audience the power of being present with ourselves, our community, and the land.
When The Porch Light Flickers
Chicago, Illinois | Film Short
Sci-Fi, Family
87 supporters | followers
Enter the amount you would like to pledge
$7,585
Goal: $9,000 for production
When the Porch Light Flickers is a proof-of-concept sci-fi short that showcases how our labor often isolates and distracts us from how absurd our reality is. Support for this project allows me to reconcile with my audience the power of being present with ourselves, our community, and the land.
About The Project
- The Story
- Wishlist
- Updates
- The Team
- Community
Mission Statement
The Story
"One’s homeplace was the one site where one could freely construct the issue of humanization, where one could resist. Black women resisted by making homes where all black people could strive to be subjects, not objects, where we could be affirmed in our minds and hearts despite poverty, hardship, and deprivation, where we could restore to ourselves the dignity denied us on the outside in the public world."
Bell Hooks, Homeplace: A Site of Resistance
SYNOSIS
Upon the recent death of Great Aunt Stella, Nia’s family grapples with the uncertainty of keeping their home as Grandma Pearl’s dementia worsens.
Nia (20s) tends to her household duties before turning in for the night, when she notices a strange glowing figure out the window. When her grandmother, Pearl (80s), goes outside to investigate, Nia is left with no choice but to follow. The two quickly discover that the cows are gone – and so are the car keys. As Nia’s anxiety spirals, Grandma Pearl tries to calm her, but mistakes her for Stella (Pearl’s late sister). Nia, overwhelmed by her duties on the farm and as a caregiver for Pearl, snaps, telling Pearl to stop calling her Stella.
Pearl steps aside to tend to her garden, only to find that her watering can is gone too.
As Pearl picks flowers and herbs, she recalls times in her childhood when similar incidents happened and shares her sneaking suspicion that they might’ve been visited by spirits. Nia skeptically listens, noticing the similarities in Pearl and Stella’s past experiences. This moment of connection is cut short when the car keys, Pearl’s necklace, Pearl’s watering can, and one of the missing cows fall from the sky, proving Pearl might be on to something after all. An unexpected visit from a spectral stranger reveals that Pearl might be more in tune with the world than anyone else.
WHY THIS STORY?
We are a diverse team with shared experiences of a larger existential crisis for many Black Americans: what does it mean to have a home in a country that continues to wear us thin? In this current political climate, as well as the rise of climate change influencing our access to food, there is a unique independence in living off the land, yet systemic setbacks for Black farmers continue to this day.
NIA SMITH
Nia is torn between leaving her hometown for better opportunities and staying to help care for the family farm. Carrying the weight of generational ties to the family farm as the only child, Nia is eager to prove herself. But when the cows go missing, Nia’s the only one to blame. As if things couldn't get any worse, Grandma Pearl may be dealing with early-onset dementia, and the family is concerned they may need to sell the farm.
PEARL SMITH
Has odd daily routines that are simply accepted as “Pearl’s way of doing things”. Pearl’s background in root work informs her connection with the land and her awareness of a “higher power”, whether that be aliens, spirits, or the universe simply saying hello. Pearl has seen how the town has changed over the years and has witnessed these strange incidents before.
STELLA SMITH
Despite Pearl’s odd routines and rituals, Stella was considered the eccentric aunt, passionate about her conspiracy theories and hyper fixations about life on Mars. With her loud sense of humor and even louder jumpsuits, Stella brought the sense of humor to a family that was otherwise often bogged down by the everyday farm duties. Her absence is felt in every empty room, and the books she left behind offer more truth than expected.
When the Porch Light Flickers blends grounded verite slice-of-life moments, interrupted by surreal and otherworldly elements that make the characters and viewers look twice. We want to be intentional in using still frames with Nia and Pearl at the top of the film and slowly shift into panning and even handheld movements, shifting into more dynamic shots by the end of the film, when our cow comes back home.
The grounded storytelling is heavily inspired by ALL DIRT ROADS TASTE OF SALT and SEEDS, while more surreal and otherworldly elements arise, with a humorous tone and anti-capitalist theme similar to SORRY TO BOTHER YOU and NOPE.
Your donation would directly support a diverse team of midwestern filmmakers, as well as farmers who are sharing their farm location for the shoot. We’re also accepting donations of gear, catering, and post-production services. ALSO, we are fiscally sponsored by Black Alphabet, which could make your donation tax-deductible.
Overall, this proof of concept has a lot of potential to grow into something bigger, and I’m excited to share it with you all! Check out the Seed & Spark link in our bio if you’re able to donate, or please share around with your community if you know any sci-fi movie lovers.
Thanks for watching and supporting!
Follow us on IG for more instagram.com/miscellino.productions
Wishlist
Use the WishList to Pledge cash and Loan items - or - Make a pledge by selecting an Incentive directly.
Camera Gear Rentals
Costs $1,000
Our amazing DP will largely be using a lot of his own gear, but we will need to rent camera accessories from local Chicago vendors
Art + Grip Trucks
Costs $1,400
A grip truck An Art truck Truck drivers gas money Support with any of these categories will help significantly
Old Furniture (for Art Dept)
Costs $1,000
This film takes place in a multi-generational family home, so a lot of the furniture is aged and lived in.
Crew
Costs $3,000
We are offering stipends for this 2-day shoot We're especially looking for PAs, Grips, Electricians, MUAs, and Costume Designers,
Locations
Costs $1,400
We are looking for locations and farmers who may be able to offer discounted rates for filming
Direct link:
Share this update!
About This Team
Natasha Phicil - Producer
A creative producer based in Chicago specializing in high-impact and microbudget filmmaking. Her expertise bridges commercial production and indie filmmaking, allowing her to combine logistical aptitude with a refined visual narrative. She is currently working on multiple upcoming short films in 2026, where she oversees everything from development to line producing, post-production, and directs multi-location shoots with agile crews. With a foundation in interior design and creative direction, Natasha possesses a distinct talent for translating artistic concepts into efficient, visually striking reality.
Kenyetta Johnson - Producer
A Chicago filmmaker Columbia College Chicago alum, receiving her BA in Cinema and Television Arts. She has worked for companies such as WTTW, DC Entertainment, and The CW. Kenyetta is also a member of The Axis Circle, which is a collective dedicated to cross-disability solidarity that centers and celebrates disabled communities, prioritizing Black and LGBTQ+ disabled people.
Jamai Fisher - Associate Producer - A Los Angeles-born filmmaker, Her producing work includes the award-winning short When The Swelling Goes Down, winner of the Cannes World Film Festival, The Last Week, an official selection of the Essence Film Festival. Contributing to productions for Netflix, Disney, FOX, Audible, and Bad Robot Productions in roles ranging from Producer and Production Coordinator to Assistant Director and Travel Coordinator. Her credits include #blackAF, From Scratch, You People, Will Trent, and projects featuring Dave Chappelle, Post Malone, and Anthony Jeselnik. Alongside her work in entertainment, Jamai is deeply rooted in poetry, creative education, and community arts, creating work that positively affects Black people.
Ani Stephenson - Associate Producer
Ani is a communicator at heart, an award-winning media director and digital strategist who’s spent more than a decade shaping integrated campaigns, leading high-performing teams, and driving measurable impact across travel, lifestyle, and tech. With a mix of analytical rigor and creative instinct, they’ve built multimillion-dollar strategies, spoken on stages, mentored emerging talent, and guided ops and events from concept to execution. Now, as one half of a new production company, Ani is channeling that experience into production coordination, bringing clarity, momentum, and purpose to every project.
Dashawna Wright - Associate Producer
Dashawna Wright, is an award-winning independent film producer, director, and writer based in Chicago. I specialize in bringing bold, imaginative, and emotionally resonant stories to life, particularly in sci-fi, thrillers, and socially conscious storytelling. Her production company, Choppe Productions, is dedicated to crafting compelling independent films that not only entertain but also challenge perspectives and ignite meaningful conversations.
Donijah Collier - Cinematographer
Donijah Collier is originally from New Haven, Connecticut. At sixteen, he participated in the Center for Creative Youth summer art program at Wesleyan University. This experience ignited his passion for cinematography. After completing his undergraduate studies at Columbia College Chicago with a concentration in cinematography, Collier worked as a freelance professional in Chicago. Collier then pursued further education at the AFI Conservatory. Collier then earned an MFA in cinematography, reestablishing his base in Los Angeles. Collier recognizes the significance of redefining the narratives prevalent in contemporary storytelling. His ambition is grounded in the creation of diverse and innovative stories that possess the potential to evoke emotional, cultural, and political impact within our society, facilitated by his distinctive visual storytelling.
Vedika Parekh
Vedika Parekh, a video editor and creative producer, is based in Los Angeles. Most recently, she was the assistant editor on the Indian adaptation of Sherlock Holmes for BBC Studios. She also interned at Tripod Media on the Sundance-winning documentary Come See Me In The Good Light, and contributed to another upcoming doc, handling story pulls, logging, and archival workflows. Currently, she is completing her thesis at the American Film Institute, where she edited five short films—including one shot on 35mm—and AE’D on three others. Parekh brings a strong editorial voice shaped by a passion for sound and emotion. She has taken sound design and mixing classes and had the chance to train under Richard King, the multi-Oscar-winning sound designer behind Oppenheimer and Dune II. A working professional since 2018, Parekh aims to bring clarity, rhythm, and meaning to the screen.
Current Team
Incentives
- The Story
- Wishlist
- Updates
- The Team
- Community
Mission Statement
The Story
"One’s homeplace was the one site where one could freely construct the issue of humanization, where one could resist. Black women resisted by making homes where all black people could strive to be subjects, not objects, where we could be affirmed in our minds and hearts despite poverty, hardship, and deprivation, where we could restore to ourselves the dignity denied us on the outside in the public world."
Bell Hooks, Homeplace: A Site of Resistance
SYNOSIS
Upon the recent death of Great Aunt Stella, Nia’s family grapples with the uncertainty of keeping their home as Grandma Pearl’s dementia worsens.
Nia (20s) tends to her household duties before turning in for the night, when she notices a strange glowing figure out the window. When her grandmother, Pearl (80s), goes outside to investigate, Nia is left with no choice but to follow. The two quickly discover that the cows are gone – and so are the car keys. As Nia’s anxiety spirals, Grandma Pearl tries to calm her, but mistakes her for Stella (Pearl’s late sister). Nia, overwhelmed by her duties on the farm and as a caregiver for Pearl, snaps, telling Pearl to stop calling her Stella.
Pearl steps aside to tend to her garden, only to find that her watering can is gone too.
As Pearl picks flowers and herbs, she recalls times in her childhood when similar incidents happened and shares her sneaking suspicion that they might’ve been visited by spirits. Nia skeptically listens, noticing the similarities in Pearl and Stella’s past experiences. This moment of connection is cut short when the car keys, Pearl’s necklace, Pearl’s watering can, and one of the missing cows fall from the sky, proving Pearl might be on to something after all. An unexpected visit from a spectral stranger reveals that Pearl might be more in tune with the world than anyone else.
WHY THIS STORY?
We are a diverse team with shared experiences of a larger existential crisis for many Black Americans: what does it mean to have a home in a country that continues to wear us thin? In this current political climate, as well as the rise of climate change influencing our access to food, there is a unique independence in living off the land, yet systemic setbacks for Black farmers continue to this day.
NIA SMITH
Nia is torn between leaving her hometown for better opportunities and staying to help care for the family farm. Carrying the weight of generational ties to the family farm as the only child, Nia is eager to prove herself. But when the cows go missing, Nia’s the only one to blame. As if things couldn't get any worse, Grandma Pearl may be dealing with early-onset dementia, and the family is concerned they may need to sell the farm.
PEARL SMITH
Has odd daily routines that are simply accepted as “Pearl’s way of doing things”. Pearl’s background in root work informs her connection with the land and her awareness of a “higher power”, whether that be aliens, spirits, or the universe simply saying hello. Pearl has seen how the town has changed over the years and has witnessed these strange incidents before.
STELLA SMITH
Despite Pearl’s odd routines and rituals, Stella was considered the eccentric aunt, passionate about her conspiracy theories and hyper fixations about life on Mars. With her loud sense of humor and even louder jumpsuits, Stella brought the sense of humor to a family that was otherwise often bogged down by the everyday farm duties. Her absence is felt in every empty room, and the books she left behind offer more truth than expected.
When the Porch Light Flickers blends grounded verite slice-of-life moments, interrupted by surreal and otherworldly elements that make the characters and viewers look twice. We want to be intentional in using still frames with Nia and Pearl at the top of the film and slowly shift into panning and even handheld movements, shifting into more dynamic shots by the end of the film, when our cow comes back home.
The grounded storytelling is heavily inspired by ALL DIRT ROADS TASTE OF SALT and SEEDS, while more surreal and otherworldly elements arise, with a humorous tone and anti-capitalist theme similar to SORRY TO BOTHER YOU and NOPE.
Your donation would directly support a diverse team of midwestern filmmakers, as well as farmers who are sharing their farm location for the shoot. We’re also accepting donations of gear, catering, and post-production services. ALSO, we are fiscally sponsored by Black Alphabet, which could make your donation tax-deductible.
Overall, this proof of concept has a lot of potential to grow into something bigger, and I’m excited to share it with you all! Check out the Seed & Spark link in our bio if you’re able to donate, or please share around with your community if you know any sci-fi movie lovers.
Thanks for watching and supporting!
Follow us on IG for more instagram.com/miscellino.productions
Wishlist
Use the WishList to Pledge cash and Loan items - or - Make a pledge by selecting an Incentive directly.
Camera Gear Rentals
Costs $1,000
Our amazing DP will largely be using a lot of his own gear, but we will need to rent camera accessories from local Chicago vendors
Art + Grip Trucks
Costs $1,400
A grip truck An Art truck Truck drivers gas money Support with any of these categories will help significantly
Old Furniture (for Art Dept)
Costs $1,000
This film takes place in a multi-generational family home, so a lot of the furniture is aged and lived in.
Crew
Costs $3,000
We are offering stipends for this 2-day shoot We're especially looking for PAs, Grips, Electricians, MUAs, and Costume Designers,
Locations
Costs $1,400
We are looking for locations and farmers who may be able to offer discounted rates for filming
Direct link:
Share this update!
About This Team
Natasha Phicil - Producer
A creative producer based in Chicago specializing in high-impact and microbudget filmmaking. Her expertise bridges commercial production and indie filmmaking, allowing her to combine logistical aptitude with a refined visual narrative. She is currently working on multiple upcoming short films in 2026, where she oversees everything from development to line producing, post-production, and directs multi-location shoots with agile crews. With a foundation in interior design and creative direction, Natasha possesses a distinct talent for translating artistic concepts into efficient, visually striking reality.
Kenyetta Johnson - Producer
A Chicago filmmaker Columbia College Chicago alum, receiving her BA in Cinema and Television Arts. She has worked for companies such as WTTW, DC Entertainment, and The CW. Kenyetta is also a member of The Axis Circle, which is a collective dedicated to cross-disability solidarity that centers and celebrates disabled communities, prioritizing Black and LGBTQ+ disabled people.
Jamai Fisher - Associate Producer - A Los Angeles-born filmmaker, Her producing work includes the award-winning short When The Swelling Goes Down, winner of the Cannes World Film Festival, The Last Week, an official selection of the Essence Film Festival. Contributing to productions for Netflix, Disney, FOX, Audible, and Bad Robot Productions in roles ranging from Producer and Production Coordinator to Assistant Director and Travel Coordinator. Her credits include #blackAF, From Scratch, You People, Will Trent, and projects featuring Dave Chappelle, Post Malone, and Anthony Jeselnik. Alongside her work in entertainment, Jamai is deeply rooted in poetry, creative education, and community arts, creating work that positively affects Black people.
Ani Stephenson - Associate Producer
Ani is a communicator at heart, an award-winning media director and digital strategist who’s spent more than a decade shaping integrated campaigns, leading high-performing teams, and driving measurable impact across travel, lifestyle, and tech. With a mix of analytical rigor and creative instinct, they’ve built multimillion-dollar strategies, spoken on stages, mentored emerging talent, and guided ops and events from concept to execution. Now, as one half of a new production company, Ani is channeling that experience into production coordination, bringing clarity, momentum, and purpose to every project.
Dashawna Wright - Associate Producer
Dashawna Wright, is an award-winning independent film producer, director, and writer based in Chicago. I specialize in bringing bold, imaginative, and emotionally resonant stories to life, particularly in sci-fi, thrillers, and socially conscious storytelling. Her production company, Choppe Productions, is dedicated to crafting compelling independent films that not only entertain but also challenge perspectives and ignite meaningful conversations.
Donijah Collier - Cinematographer
Donijah Collier is originally from New Haven, Connecticut. At sixteen, he participated in the Center for Creative Youth summer art program at Wesleyan University. This experience ignited his passion for cinematography. After completing his undergraduate studies at Columbia College Chicago with a concentration in cinematography, Collier worked as a freelance professional in Chicago. Collier then pursued further education at the AFI Conservatory. Collier then earned an MFA in cinematography, reestablishing his base in Los Angeles. Collier recognizes the significance of redefining the narratives prevalent in contemporary storytelling. His ambition is grounded in the creation of diverse and innovative stories that possess the potential to evoke emotional, cultural, and political impact within our society, facilitated by his distinctive visual storytelling.
Vedika Parekh
Vedika Parekh, a video editor and creative producer, is based in Los Angeles. Most recently, she was the assistant editor on the Indian adaptation of Sherlock Holmes for BBC Studios. She also interned at Tripod Media on the Sundance-winning documentary Come See Me In The Good Light, and contributed to another upcoming doc, handling story pulls, logging, and archival workflows. Currently, she is completing her thesis at the American Film Institute, where she edited five short films—including one shot on 35mm—and AE’D on three others. Parekh brings a strong editorial voice shaped by a passion for sound and emotion. She has taken sound design and mixing classes and had the chance to train under Richard King, the multi-Oscar-winning sound designer behind Oppenheimer and Dune II. A working professional since 2018, Parekh aims to bring clarity, rhythm, and meaning to the screen.