B A L L O O N S O V E R N E P T U N E
Written by Audrey Lane
Written by Audrey Lane
"Balloons Over Neptune" is a crushingly honest and beautifully whimsical coming of age feature film written by Audrey.
In a sleepy New Jersey beach town, a misplaced teenage girl ventures to lose her virginity and understand happiness in the wake of her parent’s volatile divorce and struggles with mental illness
Sundance Feature Film Program, Finalist | Nostos Screenwriting Lab, Official Selection
In a sleepy New Jersey beach town, a misplaced teenage girl ventures to lose her virginity and understand happiness in the wake of her parent’s volatile divorce and struggles with mental illness
Sundance Feature Film Program, Finalist | Nostos Screenwriting Lab, Official Selection
B E F O R E W E D I E
Written by Audrey Lane & Lizzy Walther
Written by Audrey Lane & Lizzy Walther
After a deathly virus hits New York City two young survivors take refuge on a roof. In efforts to fill the voids of all they’ve lost, Teddy and Dylan work together to complete a list of things they want to do before they die. The story begs the question: When society shatters and tomorrow is no longer guaranteed, what are you left with?
|
|
|
|
C A N ' T K I L L M E N O W
Concept and Direction by Audrey Lane | Starring Coral Mizrachi
Concept and Direction by Audrey Lane | Starring Coral Mizrachi
"Can't Kill Me Now" follows Coral Mizrachi’s real life battle with Lymphoma. After receiving a life changing diagnosis mid pandemic, Coral was forced to move back to Israel to receive treatment. This is her story. Coral’s resilient nature, spirit, and rawness shines through Aldrich’s soulful music.
\
\
N U M B
Written by Scott Camaran | Directed by Audrey Lane
Written by Scott Camaran | Directed by Audrey Lane
|
A black man goes to a house party where he’s caught in a web of micro aggressions & asked to fetch drugs for a privileged partygoer. |
|
A F A R M E R ' S D A U G H T E R
Written by Audrey Lane & Lizzy Walther | Directed by Audrey
Written by Audrey Lane & Lizzy Walther | Directed by Audrey
A Farmer’s Daughter is a coming of age film that explores the strained relationship between a girl and her father. Based on the personal experiences of Lizzy Walther, a farmer’s daughter.
|
|
|
E V E R G R E E N
Created by Audrey Lane | filmed entirely on an iPhone
Created by Audrey Lane | filmed entirely on an iPhone
|
Is loneliness just time spent with the world? How can we accept loss as a natural part of life? How can loss deepen our appreciation for life? Indie Short Fest: winner, best experimental short, Aug 2020 Cannes Short Film Festival: official selection 2020 Dumbo Film Festival: Official Selection 2020
|
|
|
T H E A T R E ~
C O D E W O R D S
Written by Emma Grasso Levine in collaboration with Audrey Lane, Directed by Audrey
Written by Emma Grasso Levine in collaboration with Audrey Lane, Directed by Audrey
Code Words uplifts the true stories of the ingenious, brave women who broke code during WWII. Under an oath of silence, these women concealed their legacies for over 70 years, while powerful men took credit for their discoveries.Our play centers on Ann, Gertrude, Dorothy, and Crow, codebreakers whose close, complex connection to each other drew us in. The play reckons with the forced secrecy of Ann and Gertrude’s romantic relationship due to 1940s discrimination against queer folks, and the risk that being true to their identities posed to their work and survival.
The codebreaking facility was racially segregated, and African-American codebreakers’ contributions were purposefully erased from the archives. We wrestled with the question: how could we move beyond creating a piece that only represented the white-skewed records? We cast the show on the basis of the actors’ character portrayals and their connections to the story, while holding space for ongoing conversations about race in rehearsals. Our resulting cast includes queer and straight women of color, as well as white, Jewish actors. To put our casting choice in conversation with the text, we devised an ending that acknowledges our actors’ personal identities. In the epilogue, we honor the four women that our characters are named after, recognize our actors who tell their stories today (a radical act in the face of a history that prevented them from doing so), and hold space for those whose names we might never know.
Our musicians wrote original songs that warp 1940s music, highlighting toxic, gendered power dynamics. Their behind-the-scenes work in an onstage, screened-off radio booth -- providing news updates, playing music, controlling the play’s omniscient male voice -- represents the women codebreakers’ uncredited labor. Our choreographer is using abstracted movement to illustrate the frustration, persistence, and relationship dynamics that determined the success of the team.
The codebreaking facility was racially segregated, and African-American codebreakers’ contributions were purposefully erased from the archives. We wrestled with the question: how could we move beyond creating a piece that only represented the white-skewed records? We cast the show on the basis of the actors’ character portrayals and their connections to the story, while holding space for ongoing conversations about race in rehearsals. Our resulting cast includes queer and straight women of color, as well as white, Jewish actors. To put our casting choice in conversation with the text, we devised an ending that acknowledges our actors’ personal identities. In the epilogue, we honor the four women that our characters are named after, recognize our actors who tell their stories today (a radical act in the face of a history that prevented them from doing so), and hold space for those whose names we might never know.
Our musicians wrote original songs that warp 1940s music, highlighting toxic, gendered power dynamics. Their behind-the-scenes work in an onstage, screened-off radio booth -- providing news updates, playing music, controlling the play’s omniscient male voice -- represents the women codebreakers’ uncredited labor. Our choreographer is using abstracted movement to illustrate the frustration, persistence, and relationship dynamics that determined the success of the team.
T H E S T O R Y O F M Y B O O B S
Directed by Audrey Lane
Starring Naima Coleman, Sam Flynn, & Rachel Torres
Directed by Audrey Lane
Starring Naima Coleman, Sam Flynn, & Rachel Torres
E V E R Y T H I N G B U T M Y N A M E
created by Audrey Lane, music by Alec Publicover
performed by Audrey and Alec
created by Audrey Lane, music by Alec Publicover
performed by Audrey and Alec
You come from there and I come from here. Yet, don’t we both come from somewhere? Yes, that’s right, we both come from a place. And while our two names sound different, they are both made up of sounds. From our voice boxes. A larynx all the same. Our mouths shape the sound and out pops an “ah” instead of an “o”. And so, we are put into a box, filed by a system created to “simplify”. But we can’t simplify human beings. I am everyone I have ever met. So are you. Yet we are none of them at all. I am Audrey. But I am not a name. And you are not the sounds that make up your name. Not a noun. An assortment of atoms, but that doesn’t suffice. I would like you to come with me and be the question mark at the end of the story. Because how can just one story suffice for an infinity of moments?