In this electrifying drama, executive-produced by Elliot Page, Riley begins to crumble under pressure when she and her girlfriend are selected for an elite cheerleading squad
BY ELLA GAUCI, IMAGES BY MILLIE TURNER
Could you tell us a bit about what inspired you to make this film?
I grew up in a sports household, so the family dynamic would change depending on whether or not our team was winning or losing, or if my brother, who played sports, was competing well or not. I always thought that was kind of crazy. Separately from that, I’m a drummer and a DJ, and in my performances, I, for some reason, would wear a cheerleading uniform. It felt like a superhero costume — it really does give you energy and I think that cheerleading is such a zeitgeist sport that everyone knows and loves for its campiness. Once those elements all came together for me, I saw a world in which I could tell the story about how sports affects families, and how it affects mental health — but also showing how cheerleaders kick ass.
We’re so used to seeing cheerleaders being bouncy, with pom-poms and coming from more of a comedic male gaze. I wanted to break free from that stereotype and show the sheer athleticism, and drive for perfection that goes into the sport. There’s no other sport in which you throw your teammates into the air and catch them at nose-breaking speeds. The world is high stakes and cheerleaders are utterly badass.
What is the key message you hope LGBTQIA audiences take from your film?
I hope queer audiences take away that we truly belong in sport, and that we can kick ass while doing it. There shouldn’t be all these rules and regulations on queer bodies — on what can be played, which dressing room we’re allowed in or how we should be limited in our skills and brilliance.
What are the main themes that your film explores?
I wanted to explore the tension between generations within the queer community. I feel like — yes, so much progress has happened in the past 10, 20 and 30 years, and we must recognize the work of our queer elders. I also think that sometimes, in the plight of putting themselves on the line to give us the freedom and rights that we have now as young queers, there can be resentment and bitterness. It’s unfortunate, but it was a reality I wanted to explore; the tension between a young person, who is in an out positive relationship, versus someone who is a generation older, who as Riley’s mentor, has experienced trauma from being in her shoes but in a different era.
I also wanted to show a positive queer relationship. I think it’s easy to make queerness the conflict in films from a storytelling perspective — but it was important for me to ensure Riley and Amanda have a healthy relationship that grows in its joy and forgiveness.
What is your favourite line or scene from your film?
Very early on in the script-stage, the scene between Riley and Devon jumped out as being the heart of the film. On set, working with the incredible Devery Jacobs and Thomas Atony Olajide to bring this moment to life, with such tenderness and love was absolutely incredible. The three of us are dear friends, all meeting at a film institute six years ago when this story began to take shape in my mind — we were all able to funnel that love and respect we have for one another into the scene. Watching it now in the cut it truly is such a standout scene, we all say how we wish we’d had ‘Devons” in our early years. We just hope this scene can be there for others in a way we wish it was there for us.
How did you get into filmmaking and what has been your biggest challenge in the industry?
I got into filmmaking at an early age; I was cutting little music videos together when I was thirteen on my computer for fun, on a Friday night. Blockbuster video was a massive highlight for me, renting indie films, to blockbusters, to festival-winning films. I was filling my cup with all these stories and information. I went to film school with the original intent of pursuing editing, as rhythm and breath are both so important to me, as both someone who started in post-production and as a musician.
I’ve always been directing though, it’s something I’ve ferociously tried to resist, as this industry is challenging and misogyny is still at play in nearly every conversation. It’s something I grew confidence in, especially after creating my web series That’s My DJ — I know there was no way I could turn back. I’ve been hustling, burying myself into the ground to be able to do this and I’m so grateful to have the opportunity to put my voice forward with BACKSPOT and I’m just so proud and excited to see what it will do, and the audiences it’ll connect with.
Why is LGBTQIA representation in film so important in 2024?
Queer representation in 2024 is just as important as it was in the 70s, or 90s and as important as it’ll be in 2050. We’re here, we have always been here and we have deeply human stories. It’s important to see ourselves on screen, especially with this dangerous wave of anti-queer and anti-trans ideology, to give us hope to cling onto and communities to lean on and celebrate with.
Why are events like BFI Flare which centre LGBTQIA films so important?
BFI Flare and other queer festivals around the world are so important because it gives our community a chance to come together, and to share our stories and varying experiences. It’s challenging to navigate the industry as a queer artist, so it’s incredibly important to build community with queers in the film community.
This year’s Flare is split into the themes of Hearts, Bodies, and Minds. Do you have an LGBTQIA film which affected your heart, body, or mind?
For me, Bend It Like Beckham completely changed my orbit. I remember watching it as a teen, and it really blew my mind what the director, Gurinder Chadha, was able to do and how she was able to tell a story that affected my heart, body and mind simultaneously. It was the first time I had ever rewatched a film immediately after viewing it for the first time, furiously taking notes on story, trying to figure out how she was able to accomplished it. It really did change my trajectory in life into pursuing a career in film and pursuing directing.
What do you hope to see in the future of LGBTQIA filmmaking?
I hope in the future of LGBTQIA filmmaking, that we see many more queer artists behind the camera. I want to see a plethora of successful queer directors, producers, editors and cinematographers. That’s what I’m craving; queer stories with all-queer teams, I think it will really elevate what we’re able to do and how we’re able to tell great stories from our communities.
You can learn more about Backspot by reading our interview with Devery Jacobs now.
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