My Work
Filmography Conception
2022
After transitioning my major from psychology to film, I found a compelling way to merge my passion for the human condition through
neo-noir and surrealist storytelling. Screenwriting is my passion. I strive for the betterment of my writing ability through consistent study of the prior works of William Goldman, Paul Schrader, David Mamet and Aaron Sorkin. In this portfolio, I will showcase my completed short films along with my love for screenwriting and the process of filmmaking as a whole.
The Recurring Nightmare
2024
What happens when the person we fear most becomes ourselves? That question became the premise for my directorial debut. Determined to amplify this experience in a way I felt hadn't been done before and with such an open ended idea, I felt intrigued to attempt to convey this story through the silent film form. Strictly relying on the audio and visual to guide the viewer through this fable. Simply a young college woman trapped in a nightmare of self perception at the library.
Jade's Intermission
2024
For this film I felt the Soderbergh itch. At its core, Jade's Intermission is a story about loneliness and attempting to reinterpret events of the past. The story follows a young woman's suicide dream atop a viewpoint overlooking Portland, Oregon. After mere glimpses of her relationship in ruins, Jade fails to reconcile what is and what really was. Like my own dreams, I wanted to create a portrait of isolation that drains both color and truth. Shot entirely on iphone. A month after we filmed The Recurring Nightmare.
Beneath The Silence
2025
My two prior short films are centered on individuals confronting internal conflict. Beneath the Silence approaches that idea from a quieter and more intricate perspective that uses narrative tactics that aren't present in my preceding films. This picture examines the ways people struggle to confront emotional burdens beneath an outward appearance of abnormality. Here - I attempted to build a world that felt and appeared like our own but the relative mannerisms of the people don't reflect reality.
Rhythm 0
2026
When social expectations are removed and individuals are given unrestrained power over another, what remains?
This project became an opportunity to explore themes that continue to define my work while also challenging myself with an idea I had not seen done before. As an experimental film, Rhythm 0 intentionally resists straightforward interpretation. Instead, it seeks to create a psychological experience that reflects the uncertainty and unpredictability of the subject matter itself. What drew me to Marina Abramović's story was her willingness to ask unsettling questions without offering simple answers.
BIO
I'm drawn to stories about people at war with themselves. Writing characters who often loom for identity from others. My work is heavily influenced by Neo-noir, surrealism, psychological drama, and filmmaking that challenges audiences to engage with the complexity of human existence.
Frequently returning to Zulawski's - Possession and the works of Von Trier and Cronenberg - not because they provide easy answers, but because they ask difficult questions. They trust viewers to confront ambiguity or an in depth analysis of individuality and that is something I strive for in my own work.
Outside of filmmaking, I am deeply interested in history. The more I familiarize myself with the past, the easier it becomes to recognize its reflection in the present. Human beings often repeat the same mistakes, pursue the same ambitions, and struggle with the same fears across generations. That recurring cycle fascinates me, and it inevitably finds its way into the stories I tell.
On April 19, 2023, I bought a single ticket to a screening of Lost Highway at the Hollywood Theatre in Portland, Oregon. The Monday prior I had driven across the country from Florida in four days - alongside a cat, returning to a city that felt both familiar and unfamiliar. Previously unaware of any art-form that amplified my own reality, nonetheless a film that delved so heavily into the inner machinations of the human mind. I walked into the theater expecting to watch a movie. I walked out understanding that cinema could be, and is something far greater. This was the day I fell in love with film.
Before then, film had always been present in my life. My father, who served in the military had raised me across different parts of the United States outside of his overseas deployments. Wherever we went, one thing remained constant: the movie theater. It was something my father loved, and because he loved it, I did too. Yet for most of my life, I never thought of film as an art - nonetheless something capable of transforming the way I saw the world.
That changed when I saw Lost Highway. For the first time, I encountered a film that felt alive in a way I couldn’t explain. It wasn’t interested in giving answers. It wasn’t interested in comfort. It reflected the confusion and contradictions that exist beneath the surface of everyday life. It made me realize that film could do more than tell stories. It could reveal truths that are difficult to articulate in any other medium. Since that night, I have devoted myself to screenwriting and filmmaking.
I am currently a senior at Portland State University, where my development as a writer and filmmaker has received recognition through placement in PSU's Viking Film Festival competition. While those milestones are meaningful, they are not what motivates me. What motivates me is the work itself. I'm a filmmaker because I can’t imagine doing anything else. Long before I understood what pictures could be, it was already a part of my life. Now it is the lens through which I understand the world.