Scotty’s Vag
When power dynamics are not what they seem.
Directed by Chaconne Martin-Berkowicz
Directed by the talented Chaconne Martin-Berkowicz, Scotty’s Vag delves into the intensity of a sorority hazing event, where college freshman, Scotty, grapples with power, identity and desire.
Bringing a freshly unflinching perspective to stories about women, sexuality and the unseen dynamics that shape them - Chaconne exposes the complex nature of female of relationships. Scotty’s Vag leaves viewers questioning the boundaries we set - and break - to prove ourselves.
What inspired you to delve into the theme of female relationships and sexuality in untapped places?
Scotty's Vag is a personal film, inspired by my own college experience in an all-girls secret society. The group gave me female validation, and was empowering—I felt protected and part of something meaningful. But it’s dynamics were also complex. Older girls acted as role models that younger girls worked hard to impress, and hazing was deemed a rite of passage. Looking back, I’m struck by how I was both terrified and enthralled by older girls, and by how I, too, was capable of peer pressuring younger girls when I was an upperclassman. While not autobiographical, Scotty's Vag explores the duality of this experience.
I also wanted to subvert the sorority girl stereotype. The characters in Scotty’s Vag Jell- O wrestle, binge drink, take bong rips—pastimes we might typically associate with fraternities. It was important to me that the film not judge the characters or their actions; instead they’re depicted as teetering between fun and dangerous. For me personally it’s exciting to watch women existing and acting in moral gray areas.
Can you share insights into your creative approach when developing the narrative and characters, especially in exploring power dynamics within the sorority hazing event?
When I write, I develop the characters and their arcs first. For Scotty’s Vag, I knew I wanted to explore an underbelly of sorority life, so I considered the personality and desires of a protagonist (Scotty) who would experience an important change after a night of hazing. Once I understood Scotty’s character, I considered that of the girl she looks up to—Hunter. Why are Scotty and Hunter drawn to one another? How are they different and similar? Once I understood each of their characters and motivations, their actions and the shifting power dynamic between them came to life.
The cast brings the characters to life with compelling performances. How did you work with the actors, especially Allegra Leguizamo in the role of Scotty, to capture the complexity of the characters and relationships portrayed in the film?
The cast and I spent a lot of time together discussing character backstory, rehearsing, and also hanging out. I feel lucky to have worked with such talented actors, and I think it was the trust between us that led to nuanced, naturalistic performances. The cast relied on me to give them honest and actionable direction, and I relied on them to make the character their own. Once we got to set, there was a certain freedom and ease because we’d done so much prep work—we could just live in the world of the film while we were shooting, which allowed discoveries to be made on set.
The visual elements play a significant role in conveying the story. How did you collaborate with the cinematographer, Gemma Doll-Grossman, and other members of the creative team to achieve the film's distinctive visual narrative?
Cinematographer Gemma Doll-Grossman, production designer Marina Pérez and I worked together to distort classic femininity. The pink-walled basement in which the hazing occurs was stripped bare, and we progressed from soft pastel pinks to sickly greens in both lighting and set decoration. Handheld shots using an Alexa Mini with Cooke Panchros captured the fun and the turbulence of the Jell-O wrestling, and colorist Alastor Arnold muddied the footage to achieve a dirty and enticing 16mm look.
Gemma and I also spent many afternoons watching movies together. We found visual inspiration from the grittiness of Lynne Ramsay’s “Morvern Callar”, the subjective camera of Darren Aronofsky’s “Black Swan”, and the naturalism of Justine Kurland’s photographs (specifically her series “Girl Pictures”).
Finally, in the edit we found that a slower pace and cutting less helped build tension because it allowed performances to breathe and forced the audience to sit in uncomfortable situations with the characters. In the edit as well as in our shot list, we chose not to include any visuals for mere shock value, making the focus of the film an emotional one.
These elements worked together to evoke character interiority as well as a delicious and suspenseful tone.
“I just hope viewers feel something whether they’re uncomfortable or excited or both. I just hope they reflect on their reaction.”
Congratulations on winning Best Narrative Short at the Atlanta Film Festival. Can you share some of the audience reactions or memorable responses you've received since the film premiered at SXSW 2023? How do you feel about the film's reception and recognition?
Thank you! I’m excited by and grateful for the reactions we’ve received. We definitely heard a lot of held breaths, gasps, and some welcome laughs over the course of our festival screenings. I was especially happy to hear that the film resonated with many women who know firsthand what it’s like to want to emulate and impress another woman; I think Scotty’s Vag taps into a universal experience of how female desire can be shaped in this way.
When I heard the film put audiences on edge, I was glad, and also surprised by the degree to which it could get under one’s skin. Upon refection I wonder if some of the unease felt might have something to do with the fact that we don’t often see young women acting in subversive ways on screen.
For me personally I hope it’s humanising to watch women existing and acting in a moral grey area. All this said, I just hope viewers feel something whether they’re uncomfortable or excited or both. I just hope they reflect on their reaction.
Every film production comes with its own set of challenges. Were there any particular challenges you faced during the making of Scotty's Vag, and how did you overcome them?
I wish I had weighed the amount of Jell-O we used to film our Jell-O wrestling scene... All I can say is that it was extraordinarily heavy and difficult to expose of. We made the Jell-O on location the day we shot those scenes (it comes as a powder you pour into water), so luckily we didn’t have to transport it into our basement location. When we we wrapped however, we had to separate the Jell-O into dozens of trash bags to dispose of it. Because it expands in water, you can’t flush Jell-O down a drain (we learned this the hard way...).
Are there any upcoming projects or themes you're eager to explore in your future work, and how has your experience with Scotty's Vag influenced your approach to storytelling?
I’m writing a feature that I hope will be my feature directorial debut. It’s an erotic thriller that explores some similar themes to those in Scotty’s Vag, especially in regards to how women relate to and influence one another in countless unexpected ways. Scotty’s Vag has given me the confidence to continue telling stories that are fearless, with a kernel of love at their core.
Writer/director: Chaconne Martin-Berkowicz
Producers: Cailin Lobb-Rabe, Gia Rigoli, Vero Kompalic
Scotty (cast): Allegra Leguizamo
Hunter (cast): Sara Silva
Becca (cast): Isabelle Gillette
Tommy (cast): Ezekiel Goodman
Cinematographer: Gemma Doll-Grossman
Production Designer: Marina Pérez
Costumes: Katie McClung
Sound design: One Thousand Birds
Colorist: Alastor Arnold