Category: Sundance

  • The Long Way Around

    I have been unemployed since November, which is a sentence I have repeated often enough that somewhere along the way I apparently started believing it meant I have not been employed, and last night, somewhere between twenty-five students in Indonesia laughing their way through English words some of them had been afraid to say an hour earlier and me sitting here in Salt Lake City trying to convince them that there really, truly, absolutely was NO WRONG ANSWER, I had one of those rather inconvenient realizations about myself that had apparently been following me around for months, patiently carrying the evidence in its mouth, waiting for me to stop moving long enough to see what it had brought me.

    Because what the fuck have I actually been doing since November?

    I worked Sundance, whatever WORK means when the currency is exhaustion and movies and taking care of people; I executive produced a film; I went to Bali where I was supposedly going to repair my nervous system and instead came home carrying villages and people and plans in my pockets; I showed up for graduates in Myanmar; I spent twenty-four days helping search for August; I worked on Purple Alert until it became LAW; I went to Burning Man convinced I had absolutely nothing left to give and then, apparently by muscle memory, kept finding whoever needed water or help or somebody willing to sit down in the dust and stay there for a while. And yesterday, before I taught a room full of people in Indonesia how much fun it can be to get the answer completely WRONG, I somehow found myself talking with someone who might actually be able to help bring solar power to villages there.

    Meanwhile this little creature has been following me around with all of that clenched between its teeth while I keep announcing, to anyone who asks and especially to myself, that I am unemployed.

    A smiling woman with long, wavy gray hair sits in front of a bicycle, reflecting on her father's advice about empathy and perspective.

    And I know exactly whose handwriting is all over that particular bit of nonsense.

    ALBERT.FUCKING.NEAL.

    My father grew up on Cape Cod, which explains the accent and nothing else about the man. I grew up at his dinner table, where current events weren’t current events so much as an entrance exam you passed before you were allowed the peas, and I was expected to read the Washington Post and the New York Times every day, know what was on fire in Washington and Moscow and Beirut before supper, then sit down and discuss it with a man who did not care, even slightly, that I was a child.

    I was three.

    THREE.

    Other three-year-olds got applause for knowing the cow says MOO. I was expected to have a position on foreign policy.

    I am the SON my father never had.

    There it is.

    I don’t say that with sadness, or even accusation, because what he handed me at that table was enormous: the conviction that citizenship isn’t a noun, that paying attention is an obligation, that if you’ve been given access, education and a voice, you use them, and that it’s a kind of indecency to know someone is in trouble and decide it isn’t your problem.

    The thing about ALBERT.FUCKING.NEAL is that “that’s great” has never actually been a complete sentence. There is no period after it. There is barely even a comma. You can hear the BUT already warming up in the bullpen while you’re still telling him the good news.

    I could call him from the actual village in Indonesia, standing beneath the first solar panel while twenty-five newly fluent English speakers sang the national anthem and I simultaneously found three missing people and passed another piece of legislation, and somewhere around the time I said, “Dad, you are not going to fucking BELIEVE this,” Albert would already be leaning over the dugout rail waiting for the next pitch.

    “Yeah, yeah, Jennifah, that’s great, BUT WHAT ABOUT…”

    And apparently I learned his punctuation.
    I can put a period after almost anything except my own usefulness.

    Which is how I found myself last night, after those students had spent an hour making me laugh so hard I forgot for stretches of time that I was supposed to be the teacher, already thinking about what I had not done yet. Not what had just happened, not the faces that had changed over the course of the hour, not the student who had started out barely willing to speak and then kept speaking, not the sheer ridiculous JOY of watching people discover that being wrong in English is survivable. I was already somewhere else, mentally circling the next thing, the next problem, the next person who might need me, the next pitch coming in before I had even decided what happened to the last one.

    ALBERT.FUCKING.NEAL’S question, except now I didn’t even need Albert.

    Yeah, yeah, Jennifah, that’s great. But what about…

    What about the job. What about the money. What about Washington. What about the people I haven’t helped yet.

    There is apparently no bottom to WHAT ABOUT.

    And in a little while I will call him and tell him about last night, about the students and the laughter and the fact that I made WRONG the safest possible answer and somehow that loosened the whole room, and I will tell him about the solar conversation too, since that happened yesterday as well and even I have to admit that teaching English in Indonesia and possibly finding a way to get power into villages there is not exactly a wasted Saturday.

    He will listen. He will be proud of me. He will mean it.

    For about eleven seconds.

    Then, somewhere before either of us has quite finished with the good part, I will hear the familiar little turn in his voice.

    “Yeah, yeah, Jennifah, that’s great, but what about Washington?”

    And maybe this time I will say it back.

    “What about FUCKING Washington, Albert? What do you think I can actually do? I think it’s too late.”

    Which is not a sentence I like saying out loud, especially to him, and certainly not one I was raised to say, but there it is anyway, sitting between us like something neither of us ordered and now have to eat.

    And I know ALBERT.FUCKING.NEAL well enough to know that “I think it’s too late” will not buy me even twelve seconds of silence; he will come right back over the top of it with WHAT DO YOU MEAN TOO LATE, as though I have just tried to sneak an unsupported argument past him at the dinner table and he has caught me before I can reach for the peas, and suddenly I will be three and thirty and sixty-two all at once, expected to explain precisely when I think the country crossed whatever invisible line I am talking about, what I have done about it, what I intend to do next and, most importantly, why the hell I am sitting here telling him there is nothing left to be done when there are still people standing up.

    And then, because ALBERT.FUCKING.NEAL is not above bringing in reinforcements, he will say, “Your grandmother would be pushing you out the door, Jennifah!” which is a dirty move, honestly, because once he puts my grandmother in the room I am no longer arguing with one eighty-six-year-old man on the phone, I have generations of Neals at my back apparently wondering why I am still standing in the kitchen talking about how hopeless everything is instead of putting on my fucking BOOTS.

    And the worst part is, I know exactly what he means.

    There are still people standing up.

    So maybe the answer to WHAT ABOUT FUCKING WASHINGTON is that I am out the door, Albert. I have been out the door. The BOOTS are on. I just keep getting waylaid by the actual world before I ever make it to Washington: a missing man, a room full of students, somebody sleeping outside, a village without power, a person who needs me to stay five more minutes.

    I keep stopping. I keep showing up. I keep moving.

    Maybe that is not the route you had in mind for me, and maybe it is not the route I had in mind either.

    Maybe I am taking the long way around, Albert.

    But I am already out the fucking door.

  • PING. Be Early to the Right Thing

    Friday is the new moon, which has always felt to me like the sky turning out its pockets and turning off the lights so we can finally tell the truth.

    So here is mine, loud and clear.

    I have done the polite part. I have done the boots-on-the-ground, rustling-the-bushes, digging-under-the-dirt, logical-rock-turning part. I’ve made the calls. I’ve sent the “just checking in” notes. I have played the game by the usual rules with a bright mouth and a hopeful heart.

    And still, what I am looking for hasn’t fully stepped out of the shadows. So now, I’m doing this the Nakedjen way.

    Pssst.

    If you have ever said to me, “I wish I could do something with you, Nakedjen,” this is me looking you dead in the eye and saying: The gate is open. Walk through it.

    Not “someday.” Not “let’s grab coffee.”
    This.

    The film is PING.

    It’s a story about ambition, identity, and the high-voltage cost of being “exceptional” in a world that wants to eat you for breakfast. It’s smart, it’s dangerous, and it’s painfully relevant. We have an extraordinary team, a killer script, and a direct line to Sundance. This isn’t a “maybe.” This is a machine that is already humming.

    What we need now is the investment to bring it home.

    I am passing the hat. I know it’s unconventional. But when have I ever been the patron saint of conventional?

    I am the woman who gets naked and rides escalators because she can. I am the woman who will stand on the back of a moving horse and jump through fire to make a point. I am the woman in custom Doc Martens, stomping a path toward the things that matter while everyone else is looking for a paved road.

    I know how to make magic out of dust. I’ve done it a thousand times. I know how to turn a bare patch of ground into a republic of joy. I know how to turn strangers into a family and a good idea into the kind of night you remember for twenty years.

    PING is alive. It has a pulse. And it needs extraordinary hearts to match it.

    If you have ever wanted to play with me, build with me, get gloriously dirty with me, or bet on something that actually has a soul—Come on then.

    Be early to the right thing.

    Do not watch this from the sidewalk. Do not wait to hear about it later and wish you’d stepped inside the tent while the lights were still warming up.

    Come to Utah in June. Come be part of the strange and beautiful machinery. Help make the kind of art that tells the truth with its lipstick smeared and its boots still dusty.

    Invest. Introduce me. Raise your hand. Tell your friend with the secret appetite for art. Tell the person who is tired of the boring and the safe.

    Do something wild.

    This is the whisper before the drums. The match struck in the dark. The stomp of the boot that says we are here.

    Come make some movie magic with me.

    I’ll bring the snacks.
    There may be beets.
    You do not have to eat them.

    Let’s make some magic together while we still can. xo

    #PINGfilm #newmoonmanifesting #indiefilm #utahfilm #nakedjen #sundancebound #customdocs #makemagic

  • Badump. Badump.

    Tomorrow is my birthday.


    I’ll be 62.


    And yes, it is also my father’s birthday.


    Ironically.
    Not ironically.
    Kismet.
    Habit.


    A cosmic joke we’ve both been in on since the first day I opened my lungs and learned the sound of his name.


    It is all I’ve ever known, sharing a birthday with a man like him.
    And this year, as we all know, the birthday came with teeth.This year was very difficult for both of us.
    Me and my father.
    Two birthdays. One weather system. Climate change is absolutely real.


    He almost died while I was sitting in Bali, on the other side of the world. I was waking up to roosters and temple smoke and offerings arranged like tiny prayers in palm-leaf trays. He was intubated in a hospital outside Baltimore, tethered to machines, his breath being borrowed. I was on the phone with my sisters doing the sacred arithmetic of panic: the shoulds and coulds and woulds.


    Then I made a decision that still feels like the only one I could make.


    I decided to live my life way out loud.


    I decided to wake each morning and bow and pray to the Bali gods and goddesses in the best way I have been taught. I decided to place my hands on my own chest and hold my father’s heart in mine like it was an instrument I could keep tuned through devotion.


    Because his heart is my own.
    Let’s be honest.


    I am not being poetic. I am being literal in the only language my body trusts.
    Isn’t that what we do, ultimately?


    We keep each other’s hearts beating. No matter where we are.
    Isn’t that what love is?
    One beat here. One beat there.
    One beat in this chest answering a beat in that chest.
    Call and response.
    A long-distance holy communion. Take this beat. I’ll give you mine.

    I can feel it even now.


    His heart has a way of announcing itself.
    Sometimes it wakes me up in the middle of the night like a knock at the door. Sometimes I stop short in the middle of a busy intersection and forget the world has cars. Sometimes I stop dancing and just stare off into space because the beating gets so loud I have to listen.
    Sometimes I have to just stop.
    Because the beat is bigger than the moment I’m in.

    Badump. Badump. Badump. Wait for it….Badump.
    One beat here.
    One beat there.
    Way over there.
    Wherever he is.


    It isn’t easy sharing a birthday with a man who lives his life so loudly, so gregariously, so unapologetically. A man who has always taken up space as if space was created specifically to be taken up. A man who can turn a room into a story just by walking into it with that half-cocked grin.


    The encyclopedia could probably use his photograph, worn and tattered and sepia toned, under the definition of: life lived beyond the edges. Full of hell. Full of laughter. Full of trouble. Full of impossible charm.

    Close-up selfie of an older man in glasses smiling beside a woman smiling, both leaning into the frame.

    This little nut did not fall far from that tree.


    This is the part where I refuse to make myself small.
    Because tomorrow is not just my father’s birthday.
    It is mine, too.


    I made it to 62.


    I made it here with my own two feet and my off-key singing and my insistence on showing up again and again and again. I made it here with love in my fists. I made it here with my heart out where people can see it, which is a dangerous way to live, but it is the only way I know. I walk into the fire, never away from it.


    I have marched.
    I have fussed.
    I have fought for what’s right.
    I have loved people so hard it felt like my ribs were going to crack open and let the light out.
    I am still here.


    So, Albert. Happy birthday to you, you CRAZY (all caps) beautiful human.
    I mean it with all the love. With all the heartbeats. Every single one. Mine, too. Badump!

    Here we are again, for another spin around the sun.

    I can’t even believe it.
    I really am so grateful.

    Two birthdays.
    One world.
    Two wild hearts.
    One echo.

    Tomorrow, if you’re reading this, pause for a second.
    Put your hand on your chest.
    Feel your own drum.
    Notice the beat that has carried you through every single thing you thought might take you out.

    Then go live your life out loud.
    Keep someone’s heart beating, if you can.
    Let them keep yours.
    One beat here. One beat there.
    Badump.


    xo
    Nakedjen

    P.S. Why today? Because Sundance. It’s basically my birthday party, my church, and my annual emotional car wash. I’m volunteering (!!!) and will be in Park City for the duration starting today, so I’m kicking the celebration off early and holding the bittersweet right alongside the glitter.

  • Come See Me In The Good Light

    Come See Me In The Good Light

    Before Sundance officially cracked open this year, those of us who volunteer were ushered into a whisper-level pre-festival screening. A special showing. A quiet gathering in the dark. The kind that makes you feel like the universe nudged you in early on purpose.

    The film was Come See Me In the Good Light, directed with exquisite tenderness by Ryan White, anchored by Andrea Gibson and their life partner, Megan Falley.

    From the very first moments, something inside my ribcage shifted. I held my breath through the entire film. Even while simultaneously laughing and crying. When the lights came up, I turned to my sister—still stunned and breathless—and said,
    “This is the most transformative documentary I’ve ever experienced. A gift. Ten stars. This film will change people.”

    A few days later, at the official Sundance premiere, the room rose in a standing ovation that felt like a wave with no shoreline. The entire film team was there, filling the theatre with a kind of love and presence usually reserved for sacred spaces. It was electric and gentle all at once—poetry in the shape of applause. Andrea sharing a poem right off the of their head. Pure light and magic.

    Then they came to my green room.

    All of them.

    Andrea. Meg. Ryan. Tig. The whole magnificent constellation that shaped this film.

    I tried to be my usual Sundance faerie self, the one who’s seen it all for 25 years and floats around like it’s no big deal. But let’s be honest:
    I was NOT cool.
    Not for one second.
    I was a happy, messy, overjoyed fangirl puddle.
    I hugged everyone twice.
    I spoke too many feelings and used way too many words.
    I told them the truth:
    “I’ve been at Sundance for 25 years. I have seen hundreds of first screenings. This film changed the shape of my heart. You need to know that.
    You also need to believe me when I tell you, right now, that it will also save lives and win all the awards. Thank you for sharing every bit of both of you with all of us.”

    They were kind. Gentle. Human. We laughed. We shared. We breathed the same gratitude-filled air.

    And then—my favorite Sundance moment of all—
    they all came back.

    Later in the week, the whole team quietly returned to my theatre to sneak into another film together. Not their own. Someone else’s. Not for applause. Not for press. Not for spotlight.

    Just to be people again.
    To sit in the dark with strangers.
    To watch a movie like regular festival-goers, shoulder-to-shoulder, no fanfare required.

    And I helped them do it.

    I tucked them into that anonymity.
    Found them a path in the chaos.
    Gave them the dignity of being unseen, while knowing—
    they were deeply, reverently SEEN.
    Not by cameras.
    Not by crowds.
    But by community.
    By Sundance itself, which always saves a quiet corner for the artists who give us so much of their hearts.

    That—right there—is the heartbeat and essence of Come See Me In The Good Light.
    The sacred act of being witnessed.
    The tenderness of being ordinary.
    The courage of showing up exactly as you are.
    And the miracle of having someone love you through it.

    Ryan White’s direction allows Andrea’s language to land where it always lands—inside you—and Meg’s love to hold the shape of the whole film. It is a portrait of devotion, mortality, artistry, partnership, and the radical act of telling the truth beautifully.

    If you do nothing else this week, please:
    watch this film on Apple TV.
    Let it remind you that love is brave, art is necessary, and being human together is still the point.

    Ten stars.
    Every single one glowing.

    xo,
    nakedjen