BEST Scene Reading of REBEKAH’S CLOSET, by Amy Jackson

Genre: Drama

A young American woman living in Paris grapples with the psychological ramifications of her childhood abuse.


Rosmemarie: Rachel Rain Packota
Narrator: Olivia Jon
Rebekah: Jennifer Vallance
Rupert: Allan Cooke

Get to know the writer:

1. What is your screenplay about?
A young woman in Paris is healing from repercussions of child sexual abuse. She meets the love of her life, and together with her friends, her counselor, and the woman’s determination, she is able to begin to heal on a deeper level.

2. What genres does your screenplay fall under?

Drama, Psychological Thriller, Fantasy, Magic Realism, Romance

3. Why should this screenplay be made into a movie?

It is such a triumphant story, overcoming the psychological effects of ritual abuse growing up. It is based on a true story, and needs a wider audience to show how love and courage overcome in the end. It is also based on a novel of the same name, full of magic realism, poetry, and even more filmable elements. I selected from the novel, but this screenplay is more raw, gritty, and inspirational than the novel. The novel is a first writing, and edited down for readability, much free verse remains. The screenplay takes you through key moments that impacted the real character, me, and the magic realism is a way of retelling the story in a fantastical way.

4. How would you describe this script in two words?

True Love

5. What movie have you seen the most times in your life?

The Life Aquatic, with Steve Zissou.

6. How long have you been working on this screenplay?

One year and a half, to completion, August 2017.

7. How many stories have you written?

A dozen or so. I am working on one screenplay now: Aunt Nell’s Time Machine, based on the same character in college in the eighties, the Cold War. She is very troubled and doesn’t know why, but is trying to save the world by going back in time. She gets turned around, when her friend saves her from jumping out a window, and getting counseling. Determined to find the balance between saving the world and herself in the end.

8. What is your favorite song? (Or, what song have you listened to the most times in your life?)

Clear Blue Sky, Chris Whitley, Terra Incognito

9. What obstacles did you face to finish this screenplay?

How to make the action real, with better technique. Still learning the medium.

10. Apart from writing, what else are you passionate about?

Painting, Photography, Poetry, Community Artist/Advocacy, Gardening, Baking

11. You entered your screenplay via FilmFreeway. What has been your experiences working with the submission platform site?

Excellent. No problems at all.

12. What influenced you to enter the festival? What were your feelings on the initial feedback you received?

I was hoping to find a kindred audience with the Female Film Festival. Now, after the beginning of the Me, too movement. It feels even more relevant than before, culturally.

The feedback that I received was spot on. I crafted the screenplay based on feedback from this and other festivals for about a year.



Producer: Matthew Toffolo

Director: Matthew Toffolo

Casting Director: Sean Ballantyne

Editor: Kimberly Villarruel

Camera Op: Mary Cox

By femalefilmfestival

The irony of this festival is that its goal is to not be around in 5 years time. To eventually not be relevant because there is zero need to have a festival geared for female talent and female stories because the stories presented in Hollywood and around the world are a balanced showcase of the human experience from both sexes. Our goal is to achieve a lot of success and then fold into oblivion simply because there is no need for this festival. This festival was created by the FEEDBACK Film & Writing Festival as a simple reaction to a strong need to showcase female talent from around the world in a more profound way. When putting together the weekly festival, the administration noticed a lack of a female presence in the stories being shown at the festival. A classic example and analogy to the frustration is how the festival noticed that even the smaller roles in a screenplay were written for a man to play. There was zero reason for this in many stories. How a police officer, or a political campaign manager, for example with 3-4 lines in a screenplay was a "HE" character. Why? And these are the screenplays written by the winners! The talented one who have obtained agents and have began/beginning their careers as a writer.

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