Indie Memphis Film Festival, Sidewalk Film Festival

Director's statement

Director's statement

I grew up in Texas, conservative and Christian, so that guilt residue we all know and love was happily finding its way into beds and backseats of cars. A few years ago, I realized I needed to figure out how I felt about spirituality and sexuality. And then I discovered Saint Teresa of Avila and her first vision from God. It was erotic, mystical and incredibly intriguing. To me, she redefined everything for herself, including the innate sensuality and power of spiritual connection. I wrote a feature script and then this short (as a prologue) re-imagining her modern day: what would it look like if a teenager had visions from god (or God)? How could I explore these personal questions via her story? I pulled from Teresa's book on spiritual cultivation, "Interior Castles" and the imagery of birds, light, the prism of consciousness and then symbols of masculinity and the bridegroom. I wanted to attempt to make such an amorphous story palatable.

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Reviews

Writer/director Meredith Alloway’s religious background sparked the idea for this short film, which she describes (rather intriguingly) as “‘Spring Breakers’ meets the Catholic church."

Indiewire

Alloway’s short has a big job to do in just 14 minutes: It has to be “about God,” and in this case, satisfy a film critic who expects a film about God to inevitably attempt to do far too much. Which is where Alloway succeeds as a writer/director. Instead of asking those big questions—or worse, putting them in the mouth of her protagonist—she focuses on telling a small story about a young, flighty woman, Teresa (Kara Young), who has mysterious visions.

Paste Magazine

For those of us interested in more explorations of faith (especially through the lens of female protagonists), Interior Teresa is a satisfying work that, hopefully, marks the beginning of Alloway’s future in short- and long-form storytelling.

Paste Magazine

Shooting on location in an intricate church in Manhattan wasn’t easy, but thanks to the welcoming community of Saint Peter’s Episcopal Church in Chelsea and Meredith’s crew, especially DP Elle Schneider and Josh Fordham, Meredith achieved beautifully lit scenes that referred to the arresting end scene in Baz Luhrman's Romeo + Juliet.

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