Past
Grantees

Kiera Faber received $21,540 for The Garden Sees Fire, an enigmatic animated narrative exploring the untamed wildness of the mind, the land, and the burning desire to besiege and control both. Inspired by the frontier writings of Conrad Richter and her family’s hereditary struggle with bipolar disorder, the imagery interweaves three distinct visual strands: puppet stop motion and drawing animation, hand-manipulated 16mm film, and an intermediary space that conjoins the external real-world imagery with the internal constructed world of the animations. This film is Faber’s second installment in a trilogy exploring mental pathologies and loosely inspired by specific literary works.

Mike Alberti grew up in Albuquerque, New Mexico. He received his MFA in fiction from the University of Minnesota in 2016. His work has appeared in Colorado Review, Crazyhorse, The Florida Review, Gulf Coast, Indiana Review, Mid-American Review, One Story, and elsewhere. His stories have won the Gulf Coast Prize in Fiction, the Howard Frank Mosher Short Fiction Prize from Hunger Mountain, and the Sweet Corn Prize from Flyway.

Alberti has been awarded fellowships and residencies from the James Merrill House, the Jentel Foundation, the Ucross Foundation, the Vermont Studio Center, the Virginia Center for the Creative Arts, the Minnesota State Arts Board, and the MacDowell Colony. He was awarded a Bread Loaf Fiction Scholarship in 2019. He lives in Minneapolis, where he serves as the Managing Director for Minnesota Prison Writing Workshop.

Alberti's work explores the relationship between people and place, with a focus on the environment and specifically on the way that climate change is affecting that relationship. He is working on a novel and a collection of short stories. While in residence at Camargo, he will finish his first collection of short stories, Some People Let You Down.

LeilAwa [Leila Awadallah] is an artist working with movement through embodied research and storytelling. She is a Palestinian-American who engages culturally and politically with her ancestral roots and the geographic soils in which they are growing. LeilAwa lineages are Mediterranean, yet her body was born and lives on Dakota / Anishinaabe lands.

LeilAwa’s work manifests in dance pieces, durational performance installations, and short experimental film. Her dance examines the body’s resistance to settler colonial violence and systematic distortions and erasures, and the choreography of occupation in the context of Palestine. Her physical movement seeks connection to place, land, home and memory and is created within a framework of the Arab imaginary.

While at Camargo, LeilAwa plans to focus on a daily practice of body watani (Arabic for “my homeland") in order to build a clearer physical practice for future work and collaborations. She seeks to learn from land based, durational improvisation practices rooted in traditional dances of the region: baladi, raqs sharqi, and tarantella. The physical work will be paired with historical / cultural / spiritual research questions in order to merge what subconsciously manifests during the embodied practice, with active and reflective thought that helps guide the mind-body through the terrain of memory.

Jessica Beshir received $30,000 for Faya Dayi, a visual meditation on the unprecedented growth of Ethiopia’s khat industry. Khat, a mild narcotic leaf that induces fantasy, has become one of Ethiopia’s most lucrative cash crops due to the massive unemployment of the youth. Beshir’s film weaves footage of the Khat trade with a series of intimate portraits of Oromo khat farmers and urban youth exploring the boundaries between fiction and real-life in this powerful visual and sonic experience.

Shirley Bruno received $30,000 for Just-Come/Been-To, a triptych narrative exploring intimate spaces of women, their inherited land conflicts, and buried family legacy. Three stories unearth an interwoven tapestry in Haiti: a dream-well of collective memory reflecting on one’s spiritual connection to a land, its primitive memories, and the Caribbean dilemma of exodus and return. Drawing on her own Haitian heritage, Bruno explores philosophies, aesthetics, and rhythms of lived moments found distinctively in the Caribbean, particularly as it pertains to the lives of women. Her intimate and participatory approach recreates modern myths that expose the spaces between the physical and spiritual world.

Ram Devineni is a documentary filmmaker, publisher and founder of Rattapallax films and magazine. He produced The Russian Woodpecker, which won the Grand Jury Prize at the 2015 Sundance Film Festival and was nominated for an Independent Spirit Award. He is the creator of the augmented reality social-activist comic book series, Priya’s Shakti which received the Tribeca Film Institute New Media Fund from the Ford Foundation and was supported by the World Bank. Devineni was honored by UN Women as a “gender equality champion” for creating India’s first female superhero character.

While at Camargo, Devineni will develop an interactive comic book that focuses on migration of women from Syria and other countries into Europe resulting from recent conflicts. The comic book will be based on real-life interviews and stories and use augmented reality to bring the artwork to life.

Arisleyda Dilone received $30,000 for This Body, Too/Y Este Cuerpo Tambien. In this personal documentary, Dilone is faced with the decision to replace her expired breast implants or have them removed. She grapples with the concepts of femininity and gender norms as a Dominican immigrant intersex-woman. She simultaneously deconstructs her body and the multiple cultures and class perspectives that impose their values on her being. As a Latinx filmmaker, the intersections she inhabits resonate with both a queer and non-queer Latinx audience.

Charlotte Glynn received $30,000 for The Gymnast. A 14-year-old aspiring Olympic gymnast, Monica, and her single father, “gym dad,” fight to reinvent themselves after a potentially career-ending injury. Set in early 1990’s Pittsburgh, this feature-length narrative explores issues of sexual consent, cycles of mistreatment and the everyday struggles of poor working class families. Using her own experiences, Glynn brings nuance and compassion to the film, highlighting Monica’s attempts to make sense of her incredibly complicated father and her own struggle to find out who she really is.

Jon-Sesrie Goff received $30,000 for After Sherman, a film exploring coastal South Carolina as a site of cultural pride and racial trauma. Goff’s documentary looks at the layered socio-political implications of the Mother Emanuel Church slayings in Charleston, where his father was interim pastor. Goff’s relationship with his father is the focal point for intergenerational questions of Black American spiritual survival. This personal film grapples with how a new generation in the South approaches forgiveness, faith and healing in facing this repeated and painful history.

Alison Guessou received $30,000 for Happily Married After, a short satirical film that takes on the perfections and imperfections of marriage and individual versus societal expectations. A young couple has been selected by a documentary crew to be followed for a few weeks and interviewed as part of a series for what makes a marriage successful. Both partners (unbeknown to the other) overcompensate for the perceived shortcomings of the other until the hidden flaws are exposed. The couple finds themselves in a situation that can either make their marriage stronger or pull it apart. Through a series of flashbacks, character dialogue, and talking-head interviews, we see how they navigate for the sake of their relationship.

Haisi Hu received $30,000 for The Garden of Earthly Delight, a fifteen-minute claymation and hand-drawn animated film about a woman addicted to virtual reality sex. When her waking life and dream life begin to overlap, she recognizes the danger she is in and the threat this technology poses to society at large. Tackling a taboo subject matter, Hu investigates new roles in a post-feminist society, looking at how the advancement of technology can better serve female needs, instead of putting women back into a conformist box of isolation.

Chithra Jeyaram received $30,000 for Our Daughters (working title), a transracial open adoption story that flips the narrative. A single white mother makes a bold departure from the norm and chooses an Indian American couple to be her twin daughters’ adoptive parents. Drawn to stories at the intersection of race, religion, immigration, and family, Jeyaram’s documentary provides an immigrant’s perspective on interracial adoption while examining the development of cultural dexterity in familial settings.

Shalini Kantayya received $30,000 for Code for Bias (working title). Merging cinema vérité and sci-fi elements, the film captures MIT researcher Joy Buolamwini’s startling discovery that most facial recognition software does not accurately see dark-skinned faces. Through Joy’s journey to push for the first-ever legislation in the U.S. to govern this technology, Code for Bias sheds light on the threat artificial intelligence poses to civil rights and democracy.