Write What You Know

For 13 years, I’ve been creating short films off and on. Typically, my approach has been to craft stories based on research, genre, or a specific theme I wanted to explore—sometimes tailored for a particular film festival. But I hadn’t yet ventured into writing and directing a project that deeply reflected my own experiences.

I held back, worried about judgment. Ironically, criticism is an inevitable part of filmmaking, no matter the subject. After years of hesitation, I finally wrote and directed a short film that mirrors my own thoughts and experiences. I’ll delve into that project in another post. For now, here’s a rundown of the films I’ve directed, currently on IMDb, and a bit of insight into each one.

If We’re Lucky (2011)

Synopsis: A glimpse into the life of a lesbian couple facing a tough choice.

This film was my attempt to tackle heavy subject matter after years of doing pranks and skits. At the time, I thought the “lesbian couple” angle might hook festival interest, and I assumed an emotionally charged story about infidelity and an unintended pregnancy would sustain it. It was made for the wrong reasons, with implausible twists, but it taught me a crucial lesson: never approach a story with a “hook” as the primary goal, and if you’re exploring unfamiliar topics, consult people with real insight.

In retrospect, I’d handle this story differently. Maybe one character would be bisexual, in an open relationship, and their actions would complicate things in a way that feels true. But this time, I’d seek guidance on how to end the piece with clarity.

Possibilities (2012)

Synopsis: A young man torn between feelings for his partner and an alluring stranger.

Honestly, I created this partly to film in Georgetown, Washington, D.C., and experiment with reverse footage to make it look like the world was moving backwards. I was also discovering Terrence Malick’s films, and perhaps that influenced the style. At the time, it was more of a technical exploration than a heartfelt narrative.

Verona (2014)

Synopsis: An underground fighter confronts a figure from her past, sparking rising tension.

This film was an ambitious leap. I had a co-writer to help ground the characters, but ultimately, I was pushing a revenge story—a genre I admired but knew little about. Production was a challenge, yet it was one of the most rewarding experiences I’ve had. I had a dedicated team, and lasting friendships grew from it.

Despite all the energy invested, the film was overly long for festivals, and it left unresolved story threads. The takeaway? Either commit to the full scope of a feature film or know exactly what you want to convey within the confines of a short.

These First Three Projects

None of these first three films found success at film festivals. If We’re Lucky did gain traction online, with millions of views on YouTube and some features on LGBTQ media-related sites. However, over time, comments became more critical, and the initial buzz faded. Possibilities was rejected by every festival it was submitted to, and Verona, despite a substantial investment, also never achieved its intended impact. Nonetheless, I’m grateful for the learning experiences, and it’s heartening that many cast and crew members have continued to work in the industry.

The Other Side of Monday (2018)

Synopsis: A soldier, back from her final tour, struggles to reintegrate at home.

After a four-year hiatus from directing, I returned with a project that I hoped would be a fresh start. My assistant director from Verona, an Army veteran, and I teamed up to tell a story about military PTSD. I wanted to approach the subject respectfully and keep things intimate, so we shot it with a small crew on an iPhone.

The film ultimately only received a special mention in one film festival. Although it didn’t achieve anything more than that, it was an important comeback for me. It reminded me of why I love filmmaking, despite the challenges. Though I wish I’d made the ending more impactful, I’m incredibly proud of what my team and I created.

Back to Front (2019)

Synopsis: Kevin Paltran, a bored office worker, records his podcast during company hours, with a curious intern documenting his “process.”

This was my first comedy and an entry for the 48-Hour Film Project. I partnered with coworkers who were new to filmmaking, and we received the genres Comedy or Mockumentary. We combined both. The film was absurd and a fun challenge, given everyone’s inexperience. Although I didn’t write the script, it was a fantastic team building experience.

Exposure (2019)

Synopsis: A freelance photographer struggles for recognition while pursuing artistic photography.

This project was a quick response to a film festival deadline, using the same mobile filming setup as The Other Side of Monday. It was meant to be personal, but I wasn’t fully committed. I feel I let down the cast and crew, and the film’s impact fell short. Much like Verona, this experience led me to step back from writing and directing for a while.

Table for Two (2022)

Synopsis: Sofia and Chris attempt to navigate an awkward first date, but a twist reveals a truth Sofia hoped to avoid.

With Table for Two, I set a clear goal: to secure a spot in a film festival that wasn’t the 48-Hour Film Project, which meant having ample time to craft the film thoughtfully. After the pandemic brought intense losses and challenges, I felt an urgency to move forward and pursue this or to finally stop trying. I knew this project would be pivotal, almost like a proper “reboot” of my filmmaking endeavors.

To reach that goal, I researched the topic heavily, refined the script by removing unnecessary elements, tried to include a genuine connection with the characters, and added in a twist that would hopefully resonate. The intention was to tell a mature and intimate story that could engage viewers on a deeper level than I had previously attempted with my other projects.

The effort paid off—Table for Two secured spots in three film festivals and received several nominations for the cast and crew. It was the validation I needed to keep pushing forward, building my confidence to take on a deeply personal follow-up project.

Let Me Rest (2025)

Synopsis: A grieving woman encounters painful memories at her late mother’s cabin, forcing her to confront her grief head-on.

It’s too soon to know how this will perform. It’s still in its post-production phase. However, writing Let Me Rest has shown me that creating from personal experience obviously comes more naturally than building a story through research or others’ perspectives.

That said, it doesn’t need to be the only way you create. If you’re beginning your first project, starting with something personal can provide a solid foundation, helping you grow the insight and sensitivity needed to explore broader themes in future work.

My other recommendation is to bring in a fresh set of eyes to review the piece, adding objectivity and making it resonate more effectively with a general audience.

Overall, it’s easy to wonder if my path would have changed had I started with a film based on personal experience. Most of these projects ended with me realizing, in one way or another, what could have been done differently. But putting work out there takes effort and already reveals a little piece of you, whether it’s drawn from your own life or not.

Looking back over the last 13 years, I see that each project pushed me to step further out of my comfort zone. Table for Two marked the moment I realized I could create a simple short film that resonated. With Let Me Rest, I hope to show that I can tell a truly compelling story.