“For representation to work, it needs to be positive, and characters need to be more than two-dimensional caricatures”
BY ELLA GAUCI, IMAGES BY SISTER WIVES FILM
Louisa Connolly-Burnham’s new short film Sister Wives centres around two sister wives, married to the same man, who start to develop feelings for each other. This exciting new project has been nominated for the Best British Short at this year’s Iris Prize LGBT+ Film Festival. We spoke to Louisa to find out more about what inspired this film.
What was the inspiration behind this film? And why do you think it’s important to showcase these themes in LGBTQIA filmmaking?
I feel like all women are inherently obsessed with cults. Last year I saw this amazing documentary called Keep Sweet, Pray and Obey made by a group of female filmmakers. It’s basically about a strict sect of polygamous Mormons based in Utah called The FLDS where the men can have as many wives as they want. The women wear pastel-coloured prairie dresses and never cut their hair and they look like they’re living in Victorian times. I couldn’t believe no one had made a film about these guys because the community dynamic is so unique and they’re so aesthetically intriguing. I started wondering how on earth these men got around all their wives in one week, and what would happen should the wives start looking for affection from one another instead.
Queer stories are rarely told. What do you hope audiences take away from your film?
I think we often witness LGBTQIA characters and storylines reduced to stereotypes and misrepresentation, perpetuating harmful tropes. As a filmmaker, it can be tricky to navigate these issues whilst simultaneously creating authentic and diverse portrayals. There’s also the tokenization of queer characters, meaning instead of creating unique stories and characters with the same value as cis-straight ones, they’re often inserted into storylines as an afterthought. For representation to work, it needs to be positive, and characters need to be more than two-dimensional caricatures. I would hope that after watching Sister Wives the audience sees the world as diverse, complex and beautiful, and this should be reflected in cinema.
Why are celebrations like the Iris Prize Film Festival so important for the community and the preservation of queer film?
The Iris Prize Film Festival was right at the top of our dream list for Sister Wives as they offer a platform where queer stories and experiences are centred, they celebrate these stories, contributing to more accurate and diverse portrayals that reflect our community’s experience. This kind of visibility is so important for fostering acceptance and understanding as it helps to combat stereotypes and promote inclusivity. The festival also amplifies voices that challenge societal norms, offering alternative narratives that question conventional ideas about gender, sexuality, and identity. I feel that by highlighting films that explore LGBTQIA themes, the festival pushes back against regressive attitudes and promotes more progressive, inclusive values.
How did you get into filmmaking and what has been your biggest challenge in the industry?
I’ve been an actress for about twenty years which can involve a lot of waiting around, disappointment and long periods of creative wasteland. About five years ago, in a time where work had dried up, I had the idea for my first film The Call Centre which I knew I definitely wanted to act in, but I started wondering whether I could maybe direct it as well. I realised I knew exactly how I wanted it to look and sound and feel and I felt that nobody would quite understand it like me, so why not give it a shot?
Why is LGBTQIA representation in film so important in 2024?
People are craving more diverse stories, and films with LGBTQIA representation are hitting home with bigger audiences, showing that inclusivity isn’t just the right thing to do – it’s good for business too. For many people in the LGBTQIA community, seeing characters and stories that mirror their own experiences is incredibly validating. It helps them feel like their identities are real and valued in the world. Representation in movies can make a huge difference, especially for those who might not have a supportive community. It’s powerful to see people like themselves living openly and authentically on screen. Plus, when people are exposed to different experiences, it makes them more empathetic and understanding of others – it helps foster acceptance, challenge outdated norms, provide visibility and validation to marginalised communities, and reflect the diversity of the world we live in. It’s a key driver in pushing for social change and creating a more inclusive society.
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