The Parliament Film Collective

Alexandra Juhasz
Alexandra Juhasz has made more than fifteen documentaries about feminist and lesbian issues from AIDS to women's films to teen pregnancy, including the features Scale (2008), Video Remains (2005), Dear Gabe (2002), and Women of Vision (1998), as well as producing the acclaimed narrative feature The Watermelon Woman (1996). She is a Professor of Media Studies at Pitzer College and the author of critical writing about alternative media.

Love Ablan
“I juggled many hats on The Owls, including still photographer, data and information transfer, production assistant, and craft services. I actually haven’t worked in queer film for a very long time, as my focus now is editorial portraiture, music videos, and viral spots. Working on The Owls was my re-entry into the lesbian film stratosphere, as it were. But in all my work, whatever the medium or context, I aspire to always tell a story—the more fantastic and magical, the better.”

V.S. Brodie
V.S. Brodie played the role of Ely in the 1994 film Go Fish, for which she earned the 1995 Independent Spirit Award nomination for Best Supporting Actress, and served as associate producer for Go Fish. In 1996, Brodie had a brief cameo in Cheryl Dunye’s The Watermelon Woman.

Campbell
“I am a film director and writer and worked as sound mixer on The Owls. I aspire to make more work that deals with the complexities of queer love and life in the twenty-first century. I am also interested in integrating Caribbean culture and queer cultural identities.”

Agusta Einarsdottir
Agusta Einarsdottir is an award-winning editor and director. Her career spans over fifteen years of filmmaking and her list of credentials includes varied directorial and editorial work on feature films, documentaries, commercials, DVD content, and corporate videos. Her editorial work has screened at film festivals, including, at Sundance 2009, a documentary directed by Robert Townsend called Why We Laugh: Black Comedians on Black Comedy, and a feature called Dead Pet.

Cheryl Dunye
Cheryl Dunye, a native of Liberia, holds an MFA from Rutgers University. Her third feature film, Miramax’s My Baby’s Daddy, was a box office success. Her second feature, HBO Films’ Stranger Inside, garnered her an Independent Spirit Award nomination for Best Director. Her debut film, The Watermelon Woman, was awarded the Teddy Bear at the Berlin International Film Festival.

Candi Guterres
Candi Guterres’ multicultural and diverse upbringing spanned three continents, from Portugal to Japan and Nicaragua. As Production Designer, Guterres’ extensive design/construction experience ranged from studio films such as Chasing Papi (Twentieth-Century Fox) to indie features like Stranger Inside and Between - both Sundance films; multiple award-winning TV series such as "The Brothers Garcia" (Nickelodeon), "Noah’s Arc", "Exes & Oh’s", and" Shirts & Skins" (Logo/MTV Networks).

Tania Hammidi
“I was the propmaster and a set dresser on The Owls and took on sundry production assistant-ing as needed. In general, I’m a big fan of experimental documentary and queer indie films and had a blast working on this film. In daily life, I am completing my doctorate on queer costume and dance, and teach film and architecture. I also write about LGBTQ art and entertainment for Curve Magazine, Bitch, and other feminist/LGBTQ publications.”

Alison Kelley
“I was the cinematographer on The Owls. I hope to photograph stories in a way that causes viewers to see them with fresh eyes.”

Michael Lucid
“I play Jeffrey, the realtor, in The Owls. I am the co-creator of the queer online sketch show "Pretty Things," and I produce the queer-minded web series "Daily Freak Show," featuring me and gay author/nightlife personality James St. James, for uber-queer film/tv production company World of Wonder.”

Sarah Schulman
“I co-wrote The Owls with Cheryl Dunye. I am a playwright and novelist and a professor at the City University of New York. As for influences, I used my thirty-one years of experience creating lesbian characters and considered how to nuance them realistically within the frameworks that Cheryl was interested in.”