In “Late Fall,” co-directors Alecia Orsini Lebeda and Abigail Jean Lucas tell a story of new parents almost overwhelmed by their stress, exhaustion, and good intentions.
In the film, new mom Tina (played by Lucas) and her husband, new dad Danny (Kyle Gregory) are both doing their best with their new son (played by Lucas’ son in real life). But they keep missing each other’s signals, looking past each other, and letting one another down.
At work, Danny draws the attention of the boss’ daughter, Sophia (Amanda Kuo). Their connection has a surpising impact on Tina and Danny’s marriage.
The Massachusetts-based short film just played at one of the state’s best cinematic hubs, the Woods Hole Film Festival. It turns out that the co-directors saw eye-to-eye more than Danny and Tina do in the film. Without much discussion of how to divide up their roles, they brought their experience as artists and moms to the script, with Lucas wrote. Orsini Lebeda is one of the most in-demand producers in New England, known for a logistics and problem-solving, and enjoyed the chance to focus on the storytelling side of filmmaking.
We reached out to them during the festival to discuss a early parenthood, Shakespeare, and cooperation.
Alecia Orsini Lebeda and Abigail Jean Lucas on ‘Late Fall’
MovieMaker: You don’t see many films about very new parents and the early days of parenting. What inspired this?
Alecia Orsini Lebeda: When Abigail asked me to collaborate with her on this project, it was the fact it was about parenting that drew me in. I was a new mom, and navigating my identity was something that was part of my daily struggle. I jumped at doing something I knew I could be good at — filmmaking logistics — but also taking on the challenge of directing with my “Parenting Lens.”
My partner Scott Lebeda and I were together 10 years before we had our first child. We both worked in film, and the addition of our kiddo was beautiful, but truly turned us upside down. I felt like no one was talking about that struggle. Losing your old self, your old partner, then being able to hold grace for their changes and your own. Wild.
Abigail Jane Lucas: I observe in our culture that motherhood and fatherhood are underserved in honest storytelling. I observe a lot of cultural narratives around these roles, and often they’re portrayed negatively. And I understand, parenting is super hard. And I think young people are absorbing the idea that being a parent is negative and seeing it as something to avoid rather than a complex journey of responsibility, self discovery. The intense challenge can lead to great joy in the end.
So I wanted to show a tiny bit of that reality. Both people, mother and father, are trying to show up to the table the best they can. But especially for young parents, we don’t have a lot of modeling from older generations for what modern parenting is like as the dynamics are shifting. We’re figuring it out in real time.
What happens is a lot of miscommunication. A lot of projecting and assuming the other person is the problem. And it was really important to me to show that neither Tina nor Danny is the problem. They are both good people. All of their survival instincts are showing up, and those instincts are getting in the way of seeing each other clearly.
That’s why the ending matters so much to me. Each of them arrives at a moment of seeing the other person’s good intentions. Not solving anything but finally just seeing. And maybe they make it. Maybe they don’t. However I hope it removes some of the judgement and creates space for reflection.
MovieMaker: So many new parents disappear into their phones, because they’re a convenient escape. Why did you decide to make Danny, the husband/dad, disappear into Shakespeare?
Alecia Orsini Lebeda: Danny is deep. Deeper than anyone will let him be, or even wants him to be. Shakespeare isn’t judging him or asking anything of him. It’s just there, yes as an escape, but it’s feeding his soul. And maybe some of the life answers he’s seeking are between those lines.
Abigail Jane Lucas: I didn’t want Danny to be a stereotype. There are class dynamics in this film, and I am aware of how working-class men can be portrayed. I wanted to show a working-class man who is deeply intelligent, however his intelligence wasn’t necessarily supported by his background, and maybe he even learned to hide it.
And I think that matters for understanding who Danny is in his relationship with Tina. He’s not escaping into Shakespeare. He’s looking for a connection. That distinction was important to me. We talk about social media as escape, but I think what people are actually seeking when they disappear into their phones is connection. Something that “sees us.” Social media can be a mirror of what we desire and want to hear. Danny is doing the same thing, however he needed something deep and intellectual. I can’t see him scrolling social media.
Shakespeare also had to be the bridge between Danny and Sophia. For them to have a genuine connection, there needed to be something unexpected and something that showed us a part of him that even Tina hasn’t seen. Sophia would have had exposure to Shakespeare. Danny wouldn’t be expected to. That surprise is the point.
We are all deeply complex people. But we get pigeonholed. And I needed something on screen that would crack Danny open to show his vulnerable side and show that he thinks deeply about his life. He’s not a man who isn’t showing up. He’s a man who doesn’t always know how. And that makes a big difference.
MovieMaker: Sophia, the potential “other woman,” is an interesting character here because she seems to have an emotional and intellectual interest in Danny, rather than the overtly physical kind you usually see in movies. Why did you go that route?
Alecia Orsini Lebeda: For me, Sophie could have been a troupe – but she is a mirror to both of them. She breaks the parenting feedback loop that I certainly found myself in.
Abigail Jane Lucas: Sophia is the catalyst for both of their journeys. She’s the reason Tina and Danny are finally able to see themselves and each other. That role required her to be something more than a threat.
I observe men getting stereotyped in storytelling the same way they do in life. The assumption is that if a man seeks something outside his relationship, it’s going to be physical. He’s going to fall into adultery. That’s the default narrative. And I wanted to push back, because I think it does a disservice to men (and women) and to the complexity of what actually happens in relationships under pressure. And especially new parents.
Danny loves his wife. He doesn’t know how to show it right now. He isn’t looking to replace Tina, he is looking for the connection he used to have with her. Before the exhaustion of early parenthood. There may be a bit of natural attraction, but that’s not his intention. His intention is to be understood.
Sophia is looking for something similar. She’s working in a world she doesn’t resonate with, under the expectation of her family and family business. Danny understands that environment, the workplace. By connecting with him, she finds a safe person and someone who sees her situation. Both Sophia and Danny want to be understood and want a form of connection.
MovieMaker: How did you divide up directing, given that Abigail also stars?
Alecia Orsini Lebeda: There was nearly no discussion on who would do what when. It just flowed, when she was acting, or when she had to step away to be “Mom” since her son was with us. Abigail was my oracle. This story lived in her, and I was the midwife that brought it to the screen. Truly. I have always been a logistics person, so stepping into a creative space was hard, but I had so much of Abigail’s trust, it became a safe space — with a lot of mothering shorthand — for me to say “Yes, this is what I want” or “No, this isn’t working — let’s try this.”
To that end, having Ken Willinger as our DP helped us certainly find creative solutions when we needed a fix on set. Lana Marks as our script supervisor was our brilliant sounding board. The whole team really moved as one. Same in post — we had equal support in our editor, Cecilia Prestamo, sound designer, Greg McCleary, and Steve Sherrick, for color. As someone who doesn’t usually direct, they also created a safe space for me/us to hear our own voices.
Abigail Jane Lucas: Alecia and I didn’t sit down and divide up roles. It flowed naturally, and I think that says a lot about her.
The decision to cast my own toddler came out of necessity. I had tried working with someone else’s child, but it became clear that the mother-toddler connection on screen needed to be real. It needed to be an actual mother and toddler because toddlers cannot have lines or “do as directed.” And once I realized I would be directing, acting and mothering simultaneously on set, I knew I needed a co-director who could have the creative vision when I was pulled away. And someone who understood what it was to be a Mother.
That’s where Alecia was the best!. Her depth of industry knowledge complemented my experience as a first-time filmmaker in ways I didn’t even understand until we were in it. She brought so much that I didn’t know was necessary. And she was incredibly generous when I was directing, she stepped back and let me lead. When I was acting or mothering, she stepped in and took the creative reins. There was no ego for us. And she completely understood the essence of the story as she was a Mother also. I would say this story was almost “lived” as much as it was “created.”
The team around us made it possible too. Everyone was so skilled that we could rely on our team to fill gaps. I could see co-directing being complicated yet in our case it was very easy.
MovieMaker: Finally, what’s your personal connection with Woods Hole? Any thoughts on its part in the Massachusetts film community?
Alecia Orsini Lebeda: Woods Hole is truly a filmmaker forward festival. The embrace of the filmmakers by the Falmouth community is truly unique. I’ve consistently made connections at this fest that have led to jobs or other collaborations. The festival not only screens the best that comes through Sundance or SXSW, but also films you’ll never see anywhere else that challenge your thoughts on the world, or just bring deep enjoyment.
When it came time for me to submit my college senior thesis film way back in 2006 all I wanted was to screen in Woods Hole. And in 2007 I did! It was magical, and welcoming and I’ve been going back ever since. As a fan girl of what festival founder Judy Laster has built, I’ve spent time volunteering on the board, running workshops and panels to continue to give back what the fest has done for the community.
The fest is unique in Massachusetts for its embrace of filmmakers. There is time for connective conversation at Woods Hole, that I wish existed in more of the New England fest community. Some are certainly following that lead, but Woods Hole just can’t be beat.
Abigail Jane Lucas: I don’t have personal history at Woods Hole. I wanted to screen because of its reputation. And then you arrive on Cape Cod and realize you can’t beat the location, either.
But what I didn’t expect was how much the experience would exceed everything I’d imagined. The homestay program is amazing. It allows filmmakers to be present for the entire week, which wouldn’t be possible for most of us otherwise due to the cost of lodging. Because of that program you’re seeing the same people multiple times. You’re watching their films and they’re watching yours so a support system builds so it has a true community feeling.
Everyone organizing it is completely approachable. The films are high quality. They’re always creating opportunities for people to find each other. And the location — ocean views, bikeable, intimate — is awesome.
For us, Woods Hole was also the first time we saw “Late Fall” on a really big screen. We hadn’t done a pre-screening with our cast and crew, so everyone came down together. Alecia organized a pre-event for the whole team. We screened in the Spirit of Massachusetts block at Falmouth Academy’s Simon Center in front of three hundred people. It was really special.
We’re still early in our festival run, and I already know that Woods Hole will be one of our highlights of this entire journey.
You can read more of our festival coverage here.
Main image: “Late Fall,” courtesy of the filmmakers.
