Young Chicago filmmakers get a trip to Cannes Film Festival with Chaz Ebert
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For three young filmmakers, a trip to the Cannes Film Festival was everything. It was their first, and a bevy of supporters hope it won’t be their last.
The May 22-29 adventure included a few days in Paris and a few days in Cannes for Isis Gullette, Unique Moore, and Christal Westmoreland. They were at the 76th annual international festival to soak up culture and network with fellow film lovers while donning badges for “3 Days in Cannes,” an event that invites those ages 18-28 from around the world to discover the films of the fest’s Official Selection.
For the Chicago filmmakers, the experience was made possible by DePaul’s Jarvis College of Computing and Digital Media, Chicago Housing Authority’s “Become a Filmmaker” program and Chaz Ebert, publisher of Ebert Digital, created with her late husband and Chicago film critic Roger Ebert. The students, who are CHA residents, have each participated in the six-week summer intensive “Become a Filmmaker” program at DePaul for several years.
“Exposure is everything,” Ebert said. “I wanted them to see where filmmakers from all over the world gather to show their films to other people, to talk about it, to give some encouragement and be in an environment that facilitates helping them to decide what they want to do with their filmmaking. ... I can’t emphasize how important that is and how much that means to see somebody’s life change by going through a program like this. I don’t mean just the going to Cannes part, but filmmaking ... that’s why I get involved with it. It’s just so rewarding.”
During DePaul’s summer program in 2021, Gullette, 18, who was born and raised on the South Side, wrote the screenplay for a 16-minute short film titled “I Am Not Your Token” — what she calls a semi-autobiographical, even “cathartic” narrative of her own observations as a Black student in a primarily white high school.
“I’ve had people who’ve watched the (film) or read the script come up to me and be like — they really feel seen,” she said. “That in itself inspires me to keep writing these characters in these stories.”
Her screenplay for “I Am Not Your Token” was chosen by her peers, past faculty and mentors to be professionally produced, an endeavor that included the work of Moore and Westmoreland.
“This felt like the perfect film that had social commentary, realness, and represents what our program is all about — a space to really tell your story from your perspective, bringing more awareness on it, making it a conversation,” said Liliane Calfee, director of DePaul’s CHA Youth Programs and instructor within the School of Cinematic Arts, who served as chaperone in France.
Gullette, who will soon graduate from Jones College Prep, plans to study screenwriting at Loyola Marymount University starting in the fall. As second assistant camera, Moore, 18, worked closely with the director of photography and the cinematographer in producing the short film Gullette wrote. Moore (who uses they/them pronouns) didn’t limit themselves to just that, they were also eager to help out with anything as needed, including lighting and sound.
“I was more hands-on, behind-the-scenes,” said Moore, a senior at Lindblom High School. “It was the best four days ever. I was so excited to go to set every day and, since our set was so small, I did a bunch of different roles.” According to Calfee, Moore will be taking a gap year where they will be an intern at Cinespace.
After her second year at Howard University in Washington, D.C., 21-year-old Westmoreland transferred to DePaul University where she is now a junior. She began participating in the university’s summer program four years ago. She found herself working closely with actors as second assistant director in “I Am Not Your Token.”
“I think it’s a really wonderful experience for us because a lot of kids don’t get to do things like this, especially at this age,” she said.
“This will be a good stepping stone for us in our future film journey and more red carpets to come,” Moore said. “It’s amazing that we get to learn so much and meet so many influential people.”
Gullette said she felt similarly, especially given that filmmakers of color “don’t really get a lot of space, especially in such a prestigious industry.”
Calfee said she designed the DePaul programs starting in 2016 to offer youth in public housing the opportunity to learn and acquire skills in filmmaking, screenwriting, photography, as well as game and graphic design. She wanted each program to be a space of community with a heavy level of mentorship, specifically for female and female identifying nonbinary youth most of the participants are in their late teens, early 20s. Calfee estimates since 2016, between 200 to 300 youth have been a part of the film program.
“We use our top faculty and hire our top graduate students as mentors, so they can see themselves and professionals that aren’t just teaching at DePaul, but are also making films,” Calfee said. “They have these different levels of mentorship and they also have small cohorts that are creating really safe spaces for them to express themselves. They need to feel like this is a space where they can explore their imagination, where any story they have to tell is welcome.”
And they do this as paid employees, since the program is under the One Summer Chicago umbrella. Calfee said the partnerships with Ebert, CHA, One Summer Chicago and the nonprofit Elevated Films Chicago make it all possible for the continued support of the DePaul programs, that Calfee considers “tiny boutique programs that are small but mighty.”
Tracey Scott, Chicago Housing Authority CEO, said she wants to promote Gullette, Moore and Westmoreland. She says they are confident, dynamic young students who have a lot on their minds and have many stories to tell.
“I want to make sure that other youth in CHA programs are hearing from them, seeing them and knowing what’s possible,” Scott said. “We’re not just about housing, we’re about people. We know that exposure to opportunities and the exposure to people who look like them and have experiences similar to theirs is a way to help them move to greater economic success in their life.”
Calfee agrees saying she’s feeling all the feels for the Cannes moment. She captured the youth exploring Paris and Cannes. She said from the film that Gullette made to going to Cannes has been amazing. Calfee now looks forward to submitting Gullette’s film to upcoming festivals.
“That’s what makes it all joy for me ... just seeing them blossom and grow,” Calfee said. “That was always the dream, let them reach their highest heights and that’s what this trip was about, letting them see themselves in their highest place.”