Photo by Rory Lewis
For our latest digital feature, we chat with actress, poet, and writer Megan Davis whose latest short film, Hemorrhage recently won two awards at the Independent Shorts Awards in Los Angeles. Megan writes, produces, and stars in the short which tackles abortion access exploring the emotional and physical realities many women face in a post-Roe world.
Check out our full conversation below.
Let’s start with Hemorrhage. What compelled you to tell this story now, and how does it reflect your own perspective on reproductive rights in America today?
Megan: I actually originally wrote it in 2018. And when I wrote it, I was just scared it could happen. I had never been alive in a world where Roe v. Wade was not upheld. By the time we shot it, it was actually happening. For me, it is very simple. A woman should have the right to choose. And, there are a myriad intricacies that people like to just gloss over – what if the woman’s life is in danger? When does society deem it an acceptable choice for a woman to make her own decisions regarding her own autonomy? I don’t have all these answers for everyone else. But I know that for me, it is as simple as it is her body, and therefore it is her choice. In terms of the way I wrote it to reflect that perspective, it was of paramount importance to me not to offer an explanation or term.
How did you approach portraying abortion on screen without falling into either sensationalism or sentimentality?
Megan: Well, I’m super happy you don’t think it falls into either of those. You never know, you know? I remember describing one of the moments in the film with the Catholic token to my friend and she was like, “Yeah, I don’t think that’s going to work.” And then she watched the film and immediately sent me a voice text and was like, “Alright, it works.” I think life is very emotional and some of reality can be so sensational that it is hard to believe. Satire must be extremely difficult right now, because I watch the real news and can’t tell if it’s SNL. But I really love the kind of storytelling that feels like the camera is just there and you’re just watching a moment in time of that person’s life.
I made sure to have several doctors read the script because I wanted to ensure that it was medically accurate. But, the form was a real form. Many of the people I talked to after the film who had experience with abortion said that seeing the form was what hit them the hardest. It’s often the smallest things – the littlest moments – a lyric in a song, a smell, a silence, a form, that leave such a lasting impact on our memory. I don’t think this is an easy experience for a lot of people no matter what their reason, and I get very frustrated hearing people talk about it like it is. But whether stylized or not, everything that affects us feels like truth in some way.
You wore caution tape from head to toe at the festival – a bold visual statement. What was the message behind that choice, and how did audiences respond in the moment?
Megan: I think a lot of people were very confused, especially those that hadn’t seen the film yet. Those that had seen it seemed to really get it. So did a lot of women who hadn’t yet seen it, which, I think, says something about the experience of reality that we are all currently sharing. To me, a red carpet is an extension of the art you’ve created. It is an opportunity to say something more. All I was trying to say is that I am tired of people’s bodies being weaponized and dehumanized. I am tired of the bodies of people who are assigned female at birth being diminished to nothing more than a crime scene.
The visual language of Hemorrhage is intimate and claustrophobic. How did you and your director, Ella Lentini, build that tension visually and emotionally on set?
Megan: I think if you asked her and Andy (the Director of Photography) they probably felt pretty claustrophobic in the back of the car with the camera. We always wanted it to be intimate. And I am thrilled that it feels claustrophobic because I think that’s how Alex feels. I have no idea how Ella and Andy did it, and Vanessa (the editor) and Jacquie (the composer) but I got very lucky to be working with such talented people.
Independent short films often face limited visibility. What do you hope this project achieves for audiences, for women, and for your own career trajectory?
Megan: You know, I don’t know the answer to this one. I am actually trying to figure it out myself, so I guess I can let you know. The film festival market has become incredibly saturated with studio and star-studded films, which makes it a lot harder, because festivals used to be the primary place for indies to find the life they’re supposed to have. I think what I care about the most is – how do we do the most good with the film? If that means doing a few more festivals and looking for distribution, great. If that means releasing it on YouTube or TikTok and hoping the people that will like it or feel seen by watching it find it, that’s also great. I just don’t know the answer yet.
I mean, it’s so hard to make a film. It takes so many people who are willing to believe in the project and in each other. I got very lucky, and a man named Stephen Robards (our Executive Producer) said “I want to help. I think what is happening is important. I think this story is important and I want to help you make it.” That was such a gift. Writing is a lot easier. I just sit on my bench in Tompkins Square Park and write. (Though that doesn’t mean anyone will ever read it) I think the best feeling ever was when we completed it. It felt like such a labor of love. The awards were really nice, though, because, I guess what it meant to me was that someone else felt as moved by the story of the characters as we did. And even though it’s fiction, it’s always somebody’s story.
What’s next for you creatively, and how do you hope to keep evolving the conversation about women’s autonomy?
Megan: Well, I think strength comes from vulnerability. To me, being vulnerable is the supreme act of strength. It is in our vulnerability that our humanness shows. And it is our humanness, or our soul, that connects us with each other. Tomorrow I have a poem coming out in the new collection Tough Poets Review, so I am excited about that. I guess it also talks about bodily autonomy as it is a poem about a woman choosing to love another woman. Most of the art that I write, whether poetry, film, etc., tends to be about human rights and empowerment and healing.
I think my ultimate goal is just to help create a more understanding and connected world society. Just humans who see each other as humans. In terms of this conversation that Hemorrhage brings up specifically, we are trying to connect with other organizations that work with women to see how we can help use the film to move the needle in the conversation about getting people the healthcare that they need and deserve. So if anyone has any ideas, let me know!
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