Glenn here to discuss the latest excursion to the live stage.
It can be easy to bemoan the fate that befalls many female filmmakers. Lord knows I have often found myself lamenting the post breakthrough careers of the likes of Patty Jenkins, Courtney Hunt and others. Those filmmakers for whom a great early work somehow doesn’t permit them the same carte blanche movie projects as male directors like, for example, Marc Webb who got The Amazing Spider-Man off the back of a slight, but popular romantic comedy whereas Kimberly Peirce won her star an Oscar for Boys Don’t Cry and yet it took nine years for a follow-up. Still, as frustrating as it must be to them and to moviegoers when (I assume) financing doesn’t come to them quite as quickly or as robustly as it might another, we thankfully live in a society that doesn’t mean they have to sit around idly letting their creative juices stop flowing. One of the benefits of the expanding TV universe, for instance, is a greater opportunity for female directors like Jodie Foster, an Emmy nominee for directing an episode of Orange is the New Black, and Jennifer Lynch, for whom Teen Wolf and Psych have allowed more opportunities than film ever has.
This is basically a far too long roundabout way of getting to Kimberly Reed, the director of the fantastic 2008 documentary Prodigal Sons. That film’s autobiographical nature wherein Reed documented her small town high school reunion having since transitioned only to then be simultaneously confronted by the realization that her adopted brother is the biological grandson of Hollywood royalty was perhaps suggesting that film wasn’t always the direction she wanted to take her career. Yet it was an exceptionally good movie, and one that deserved to breed a wider voice for Reed and issues of transgender (six years later and it has finally reached the mainstream). For what it’s worth, I only cottoned on to to Prodigal Sons after having read about on The Film Experience.
While I am unaware of what Reed has been doing in the intervening years, I was pleasantly surprised to discover that she was one of the names behind As One, an intimate chamber opera that played this past weekend at BAM in Brooklyn. Many artists will find any means necessary to tell the stories that are inside them and whether Reed had a hard go of it getting a second film off the ground or not, the emergence of her point of view in any creative outlet is something to cherish.