Authenticity and representation in filmmaking plays a crucial role in shaping narratives that resonate with audiences on a deeper level.

Jessica Perlman, a director and editor from Los Angeles, has dedicated her craft to telling compelling stories that bridge gaps in understanding and challenge misconceptions. Her latest short film, ‘Talk’, set to premiere at the 2025 Slamdance Film Festival, provides an intimate and thought-provoking look into Deaf culture through the lens of a CODA (Child of Deaf Adults).

In this conversation, she shares insights into her creative process, the inspiration behind ‘Talk’, and the importance of authentic representation in storytelling.

1. Jessica, could you please tell us a bit about yourself and your filmmaking career?

Jessica: I’m a director and editor from Los Angeles and I’ve worked in films, television and commercials, including projects like I Think You Should Leave, Bojack Horseman, and Muppets Haunted Mansion. Additionally, I had the great pleasure of working under Shane Hurlbut, ASC where I further refined my visual language.  My first short film, “Breathing Underwater,” showcased at the Lonestar Film Festival and Westfield International Film Festival. I went on to join the editorial team of several series on streaming networks; and recently cut my first television pilot for Adult Swim.  In 2021, I directed the SWEAT Kelsey Wells campaign for Facebook Creative and my latest project, “Talk” will have its world premiere at the 2025 Slamdance Film Festival.

2. What inspired you to make a film like this specifically in the short format?

Jessica: I think every great short has a bit of a gut punch at the end. The way I wanted to weave the story together was just calling for that kind of reveal that leaves you wondering more. One of the hardest things for me to explain about being a CODA, is the management of all the conversations happening at once and how they funnel through you. So I decided to show it! By putting the audience within the layers of words, meanings, contexts– I believe it really gets across how difficult it is to manage, yet still hold your own place in all of it.

3. What do you think is the biggest misconception about Deaf culture that you believe your film ‘Talk’ can help correct?

Jessica: There is certainly a misconception about Deaf people being slow or uneducated that I hope this film subverts. But I think most people dont have any misconceptions about Deaf culture because they don’t realize there is one! Deafness is not just the inability to hear, but it comes with its own language, values, myths, heroes and villains. I hope my biggest impact with the film is revealing a brand new world to audiences that are not aware of Deaf culture.

4. The story is so much about what is spoken and what isn’t. In your writing process, how challenging was it for you to capture this?

Jessica: That was quite difficult to do in the script phase. It took me a couple of rewrites and table reads before I realized that it was all execution dependent. The subtext is all in the visuals and performance. Juxtaposing the repairman (whose words we understand, but intentions we don’t) with the father (very clear in where he’s coming from, but whose words we don’t understand) is where I created the tension. I needed to create a very difficult situation to navigate, not just for the audience, but also for the translator character.

5. What was the process of casting the Deaf father like? And how important was it for you to ensure that casting choice ensures authentic representation?

Jessica: And how important was it for you to ensure that casting choice ensures authentic representation?It was extremely important to cast authentically. As a CODA and native ASL user, it’s always distracting when hearing actors portray Deaf people because you can tell by the way they sign, even if they are fluent. Sort of like getting an accent right.  And that wouldn’t be authentic for me. I knew I needed someone from the community. The casting was the scariest part because I knew I had a smaller pool of talent to choose from. But after seeing Jacob’s audition, I knew we had our guy!

6. Also, how did you work with the actors to ensure the tension in the film felt authentic?

Jessica: I came in with a really clear vision of how I wanted the performances. However, giving the actors some space to bring their own perspective on the scene really helped enhance the authenticity. That “kiss my ass” booty cheeks in ASL was all Jacob!

7. Another impressive thing about this film is the sound design choices. How deliberate were you about making sure this element of the film also stands out, especially considering its subject matter?

Jessica: The audio design was another way we could tell the story of the characters to hearing audiences who cannot follow the ASL. I was intentional in using the audio to tell the story’s  tension so that, in combination with the framing and the performances, all audiences could follow along in each character’s journey.

8. What have been the reactions from Deaf, hearing, and CODA audiences so far?

Jessica: Since Slamdance 2025 will be the world premiere, I can only go off of the reactions of the community close to me. But the reception has been great so far. Hearing folks are enjoying the experiential aspect, Deaf and CODA folks are connecting with the humor and the relatability. Looking forward to presenting the work to a wider audience later this month!

9. For the audience that gets to see this film, what is the clear message you would want them to take away from this film?

Jessica: I hope this film will engage hearing audiences in a conversation without their usual tools– putting together the clues to understand not only the words, but the characters’ individual experiences. For a Deaf audience, I hope the film makes them feel seen, their lives centered, and even find humor in the relatability of difficult situations like this. Additionally, for all the CODA’s out there, this film is from our point of view. We are often involuntary witnesses to discrimination and prejudice at young ages, which can form a strong impact leaving them to deal with uncomfortable situations on their own. Even though we have a quick moment with our characters, I believe this short film will make a lasting impact on audiences of all types.

10. What’s the most important lesson you learned from making Talk that you’ll carry into future projects?

Jessica: My experience making Talk was quite extraordinary. This was the first time I was able to work with Deaf talent and I couldn’t believe how quickly Jacob and I adapted. We came up with our own signs for film specific words. I was directing the performance from behind the monitor while signing at the same time. It felt like speaking my native language on set for the first time. Something I never thought could be possible. It really opened my mind to what could be accomplished in this sort of dynamic.

11. Finally, do you have any advice for any up-and-coming filmmakers looking to tackle social issues through film?

Jessica: I think leading with authenticity is a big one. Let your character’s lead the story and not just the issues you’re tackling.

As ‘Talk’ prepares for its world premiere, Jessica’s hope is that audiences both Deaf, hearing, and CODA alike all connect with its themes of communication, identity, and the unspoken struggles that shape personal experiences.

Through a deliberate blend of visual storytelling and sound design, the film not only sheds light on Deaf culture but also challenges viewers to engage in conversations beyond their usual comfort zones. With her commitment to authenticity and powerful storytelling, Jessica continues to push boundaries, setting the stage for more inclusive and meaningful narratives in cinema.

In Conversation With Reina K., brings to you the kind of scoop that gives you a real insight into the mind, drive and craft of filmmakers from across the world.