I accidentally started making films on a trip I took Cambodia to visit a number of midwives working in the rural Southeastern part of the country. Why I decided to visit these women in the first place in another story. It will have to suffice to say that I was there and they were so graciously allowing me to observe their practice. I’m a little dyslexic so the idea of documenting my time there in writing was overwhelming at the time. So I made short videos of my experiences and reflections. After realizing how intriguing filmmaking was, I just kept making them even after my return to the States. Then one day I started asking for a bit of money for the stories I was documenting. Then after some time I started charging a bit more, and when I was making enough money to live off of filmmaking I stopped doing everything else. The the stories kept becaming for complex and interesting. I think that is why I have continued to make films over the past decade; it is unendingly interesting and challenging to document and reflect back a person’s story accurately.


Really the true heroes of this story are all the people who let me follow them around with a camera while asking personal questions then allowing me to share their answers with anybody who would watch the films I made. I owe my career to everyone who was, and still is, willing to be vulnerable with me and my camera.




THE Color of Mourning is an exploration into the unique relationship that members of the rock climbing and alpinism communities have to grief, loss, trauma, and overall mental health. This film is made in collaboration with the Climbing Grief Fund (CGF), an organisation that "acts a resource hub connecting individuals to effective mental health professionals and resources.  CGF is working to evolve the conversation around grief and trauma in the climbing, alpinism and ski mountaineering community."



I remember riding in the shuttle bus with Jenny in Zion while filming Hip Hop Gone Wild. She turned to me and began telling me how she wanted to explore her relationship to Fear in climbing through writing and film.  As she spoke I could see this film behind my eyes, it was as if she was making it right there in that bus with every work she spoke.  It took work to get this project off the ground but once we did, the film began to lead the way. As we filmed this piece, it became clear that what we were up to was unpacking that relationship Jenny has originally spoken about.  The point wasn't so much to understand fear as much as it was to better understand how Jenny, and many of us, communicate with fear in moments of intensity. Making are, in wild space, about the human experience under pressure is one of my favorite things to do! Through this film I had the opportunity to understand myself even more. 

WADI RUM (2018)

Wadi Rum was a one and a half year project which began seated around my kitchen table talking to Eli Nissan, one of the main characters in the film, about his love of Wadi Rum's desert, people, and climbing.  We were on a plane, headed there within the month. With the incredible help of Mohammad Hussein, the other main character in the film, and Alon Brookstien, my drone pilot, this film was shot in nearly 4 weeks. It was such an honor to spend the next year and a bit uncovering the character of the desert, the connection between people, the struggle, the joy, and the undertones.  I set out to make a small piece about climbing in the desert of Jordan and was so happy to then let this film take a life of its own.


The Honeymoon is Over was my first adventure film. Starting out, I had no idea I was going to make an entire filmed short. I had asked Madaleine if I could film her working on this route as a way for me to learn how to shoot rock climbing. I had no idea that the project would turn into what it has become. I remember the first time rappelling down the face of the Diamond after a 4 hour hike, 13,800 feet high, 1200 feet above the ground, I had the feeling that I had discovered a type of filmmaking that I could see myself doing for a very long time.  Here were the crossroads of technique, physically labour, and art. I had a huge smile on my face.

Working with Becca Droz on this project was, to this day, the most playful collaboration of my life. I felt like there were no stop-gaps in our process together, like we were riffing off each other through the whole process. Becca told me about her idea to merge her passions, beat-boxing and climbing, in a fun music video and there was no way I could refuse her.


Melissa Michaels approached me with her dream of sharing her story surounding her experience surviving ovarian cancer and I instantly accepted.  Something I found so beautiful about her process through this stage in her life was her dedication and capacity to authentically merge traditional, earth-based healing modalities with the modern western medicine. Dance them together throughout her whole body and come through to the other side more complete than ever.  





Awarded for her film short, The Honeymoon is over

Yosemite International 2018


Awarded for her documentary, WADI RUM

CAFF 2019


Awarded for her film short, Speak To Me Softly



Awarded for her film short, Twisted Gift