"Le Monstro" Explores Love, Beauty, and Acceptance at Summerdance 2024

On September 8, 2024, the Regent Theatre in Arlington will come alive with the excitement of Summerdance 2024, a highly anticipated showcase of independent cinema. This dynamic event will feature a diverse selection of seven short films, ranging from experimental comedies to moving dramas, and promises to be an exceptional networking opportunity for both seasoned and emerging filmmakers.

The evening’s festivities will include red carpet interviews conducted by Friendly Filmmaker, a networking cocktail hour, and screenings of works by New England filmmakers such as Kris Salvi, Rob Levinson, Mark Meagher, Sam Cohen, Chris Esper, and Michael Gonza. Attendees will also enjoy a special appearance by "Oliver" from "Embrace the Film" and engaging Q&A sessions with the directors, moderated by The Film Stock Podcast.

Produced by filmmaker and event planner Gabrielle Rosson, Summerdance 2024 is set to deliver an unforgettable celebration of creativity, innovation, and the art of filmmaking. Rosson will also present her 1850s period film, "Le Monstro," and was recognized as one of the top 10 filmmakers to watch at the American Film Market in 2023. She recently sat down with award-winning journalist Shirley Ruhe to discuss her process.

Q. Do you write and produce films full-time?

A. I do. I write and produce full-time, but sometimes I need to pick up a day job to make ends meet. It's common in the film industry to work odd jobs, and I’m fortunate to have a diverse background in journalism, social media management, photography, video editing, and event planning, so I can find work easily. Before I got into film, I did community “feel good” news. Now, my primary focus is on my own film production company, GR Films, and the Lois Weber Film Festival, a 501(c)(3) I founded dedicated to honoring the contributions of silent film icon Lois Weber by creating a platform for women in film, past, present, and future.

Q. What is your film background?

A. I don’t have formal training beyond a screenwriting class I took in college and years of hands-on experience on sets. But I have always been a storyteller. In my twenties, I worked as a singer-songwriter and wrote poems, short stories, and plays. So, transitioning to film felt natural for me. I’ve been working in film for about six years now and continue to learn more about the art form, the industry, and my place in it as time goes on.

Q. Take me back. When did you first get interested in film?

A. I was a latch-key kid, so I watched a lot of television growing up. I loved TV and movies, and I grew up in LA just a block away from Mann’s Chinese Theatre. There were signs everywhere for Charlie Chaplin, Marilyn Monroe, and Judy Garland. It was magical to grow up in that environment, and it made a big impression on me. One time, when I was about 8 years old, my mom took me up to Mulholland Drive to look out over the city. I remember feeling a sadness because it occurred to me that for every light I saw, there was at least one person who was desperate to make it and never would. I still feel a bit sad when I think about that.

Q. Describe "Le Monstro." Where did you get the idea?

A. Many of my stories are historically inspired. "Le Monstro" takes place in the 1850s and is inspired by Julia Pastrana, the Victorian ape woman, who was exploited by her husband/manager. He toured with her and advertised her as the ugliest person on earth. When she died, along with her newborn son who inherited the same condition she had [hypertrichosis], her husband had their bodies embalmed and continued to make money by showing their remains. Pastrana was very talented, but at the time, people misunderstood her genetic abnormality and thought her mother had mated with an ape. It was a classic case of female exploitation, and it wasn’t until recently that her body was laid to rest. As a plus-sized woman, I understand what it feels like to be judged. So I wanted to create a film that would make people think about beauty—both inside and out.

Q. Do you have a style?

A. I’m drawn to period pieces. For me, it’s like time travel; I get to live in these different worlds. My next project is a collaboration with Deborah Del Negro [Del Negro Entertainment] and takes place in the 1970s. I’m excited to explore that era since I was born in 1978 and am a huge fan of disco. I was that weird kid doing the hustle in my living room and wearing bell-bottoms in the 1990s--so I am excited to revisit that.

Q. What has been the most difficult thing about preparing this film?

A. The most challenging aspect of any film is often the financing. Hollywood tends to favor formulaic films that are safe and cheap to make, and the indie world isn’t much different in that we also need to keep our projects cost-effective. I’ve been fortunate to make 1-2 films a year, thanks to the tremendous support of my executive producers.

Q. What are your plans and hopes for the future?

A. I would love to see the New England film community become a thriving epicenter of film, attracting investors who are eager to discover new talent. My intention with Summerdance is to create an annual end-of-summer showcase that sets the standard for work coming out of our community. I invite industry producers, scouts, and agents to see what the independent community is truly capable of. We’re doing big things!

For tickets to Summerdance 2024 visit: https://regenttheatre.com/events/summerdance-2024/

About the Author: Shirley Ruhe is an award-winning photographer and reporter for the Connection newspapers in Virginia, a role she has excelled in since 2016. Prior to her journalism career, she served as the Director of Budget and Economic Priorities for the House of Representatives Budget Committee and as the Director of Congressional Relations for the RAND Corporation. Shirley also has a distinguished background in the arts as the former Chair of the Board of the Leon French American Theatre and as a Helen Hayes Award Nominator.