Over at Jewcy, we are big Jessie Kahnweiler fans, so when she released her new video Meet My Rapist, Romy Zipken covered the “dark yet humorous” film immediately. The piece is a masterful work of comedy and tragedy that changes the discourse about rape irreversibly by forcing the viewer through a mosh-pit of all the feelings, rather than one.

The conceit of the film—but do watch it—is that as Kahnweiler goes about her daily life, she is dogged by the silent specter of her rapist. I won’t ruin any of the lines—they are too good. Her delivery and those of the supporting cast is flawless, but suffice it to say that the responses of her friends and family and even herself serve as a hilarious critique of the way rape victims are treated, even by themselves.

The ending inspired in our office a little discussion: Was it a happy ending? Or was it a drug-infused ironic send-up of happy endings?

This week on The Hairpin (which we at Jewcy also luuurv), Jessie Kahnweiler weighed in on the ending she chose in a lovely interview with Emma Carmichael:

Jessie: It was also really empowering because I am the one who imagines this guy—I created my rapist’s persona. I only knew him in my real life for about three hours total. But I knew that if I could imagine him, I could also maybe say goodbye to him in my own way. It’s not that he is ever fully gone from my life, but I think it’s possible to reach a healthy level of detachment, and making the film gave me just that.

Emma: Right, so you could sort of create your own version of a happy ending?

Jessie: Yea. And to me, what’s so happy about it is that it’s an ending that’s dripping in beginnings—with my sexuality, my identity, and my confidence. It’s not that there is this big mega shift in me, but there is maybe a moment of like, “Yeah, this girl’s on her way.” And that’s so how life is. Any big change happens in a billion seconds over a trillion years.

But Kahnweiler’s little film is important for another reason: she reminds us of what good art is capable of. Good art can move while mocking; it can stir while being satirical. From the choice of the rapist’s appearance to Kahweiler’s own physical comedy to the therapist’s hair to the montage’s music, Kahweiler’s craft is wielded with the sharpness of a knife, and to great purpose. She reminds us that not only can a woman take back an experience that was forced upon her by an assailant, but that good art can change both artist and audience. And I felt myself changing as I watched this video. I emerged from viewing this brilliant seven and a half minutes a person who thinks about rape differently. It’s not that I feel politically altered—it’s hard to imagine where I would go on that front. It’s that Jessie Kahweiler has turned rape into a different thing, a thing that is funny and sad and pliable. A thing that is ugly and horrific but also a thing that can become the fruit of something beautiful, like heartbreak and death and trauma and loss.

Kahnweiler becomes more herself as the film goes you feel like you’re seeing a part of her that her other films don’t quite access. As she tells Carmichael, “the film deals a lot with my frustration and trying to reconcile being a “strong/ badass feminist” with a “hurting victim,” and being a sexual being as well. There is such a certain amount of guilt and shame around my own body with this experience, and the film was a chance to confront all these lurking fears.”

Kahnweiler is a true artist, for her experiences become our enlightenment. What happens on the screen alters us and therefore the kinds of encounters we will have and the kinds of encounters we will tolerate. Kahnweiler’s choice of a mash-up of humor and horror ends up being so much more powerful than a straight-up sob fest, for by engaging the viewer on both levels at once, Kanhweiler forces the viewer to be her—to encounter the material, as Kahnweiler does, as both horrifying and humorous.

Testify, Jessie Kahnweiler. We can’t wait to see what you come up with next.

Previous: Jessie Kahnweiler Runs Into Her Rapist At The Market

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We love Jessie Kahnweiler, the filmmaker responsible for ‘Dude, Where’s My Chutzpah,’ a hilarious web series where she searches for meaning in Judaism.

Well, Kahnweiler has a new video out, ‘Meet My Rapist.’ The topic is intense, so it’s unlikely that you’ll laugh the same way that you would in some of her other shorts. But Kahnweiler manages to keep her sense of humor while tackling the haunting presence of her rapist.

Here you go:

Previous: Why You Should Probably Be Watching ‘Dude, Where’s My Chutzpah’
Spotlight On: Jessie Kahnweiler, ‘Dude, Where’s My Chutzpah’ Filmmaker

The post Jessie Kahnweiler Runs Into Her Rapist At The Market appeared first on Jewcy.

Jessie Kahnweiler is a 28-year-old filmmaker from Atlanta best-known for her new web series, Dude Where’s my Chutzpah. The series follows Kahnweiler on her quest to find meaning in Judaism after her grandmother dies, leaving her a large sum of money with one caveat: she’ll only receive the money if she can reconnect with her Jewish soul.

Kahnweiler is candid and hilarious, and has a way of saying the things you want to say but don’t have enough ‘chutzpah’ to actually say. She was awarded a Six Points Fellowship in 2012, a grant that supports Jewish artistic endeavors, and has a YouTube channel filled with shorts and trailers. She’s at work on a new series, White Noise, in which she infiltrates different cultural communities and breaks down stereotypes.

With an unapologetically honest and fresh voice, Kahnweiler is definitely on our radar, and should be on yours, too.

Did you always want to tell stories?

I played dress up until I was like … I don’t know, yesterday. I’ve always been interested in the art of storytelling and using my experiences to tell stories and process my own life and relationships. Since I was a kid I’ve created imaginary worlds in my head and talked to myself. In college we didn’t have a film department but I went to a hippy dippy school where you could design your own major. I took a film class and then just started making documentaries. I drove around the country with truck drivers for my thesis film, because I wanted to learn about truck drivers—I didn’t tell my mom about it until afterwards. It all just all feels like a natural progression.

What was going on before you got the Six Points Fellowship?

That’s the cool thing about this project, it really just found me. I know that sounds super cheesy, but it’s true. After college I moved to LA and started working on bigger Hollywood movie sets like Couples Retreat and Green Hornet, and I would make shorts on the side.

Then I was working for Bad Robot, J.J. Abrams’ production company, and one of my mentors told me to apply to the Six Points Fellowship. I was like, ‘Whatever, I’m not Jewy, I’m the last person to ever be able to make a Jewish film. What am I gonna write about, Rivka and having 20 kids?’ But then I just applied and wound up getting the grant. I left the production company and threw myself into this project for the past year and a half.

Did your grandmother really pass away and leave you a sum of money or was that fictional?

My grandmother actually ended up passing away during the making of the series, so it’s very weird how art imitated life. But, no, it was just inspired by real life. I was raised super reform and I dated more non-Jewish guys then I care to comment on. I look at the grant as a metaphor for how it really was. Like I got the grant and was like ok I’m going to make a film about being Jewish. That kind of parallels the actual film, you know what I mean?

Completely. What’s the Jewish culture like down in Atlanta?

Jesus! I don’t even know—lobster waffles? There’s definitely a Jewish community there but it’s not big. I was really good at playing soccer so I played with all the goys. I had a bat mitzvah and did what I was supposed to do but it always felt like an inconvenience—like, ‘Oh, I have to go to temple.’ I equated it with going to the dentist: I’m going to go, but I’m not going to like it.

I read that you pictured God as a man, and I feel like a lot of people visualize this big man in the sky running the show. Has going to Israel and getting more in touch with your roots changed your view on spirituality?

Wow, how much time do you have? No, I think you’re absolutely speaking to the point. I do look at God as a man because God, spirituality, and everything I learned was always an instruction, to believe ‘This is what you should eat, or this is what God is.’ I think we’re given the answers a lot growing up, and it’s so unfortunate, because when you look at the history of Judaism it reveals the complete opposite. Judaism is all about questioning and playing in the gray and being comfortable in the gray.

Doing the project and being in Israel has made religion and spirituality much more of a conversation for me. It’s opened me up in so many ways—last night I went to a Buddhist meditation meeting. In the past I would make fun of myself for doing something like that but now I am much more open.

So now you welcome all spiritual possibilities with open arms?

Totally. Not to sound like a hallmark card, but it’s a lot like when you think about love. I mean, words can’t even do it justice, so when you ask me about God or spirituality, there’s no symbol or word or place to describe it, because it’s not of this world. To even know that, though, is leaps and bounds from where I was a year ago, when I thought, ‘God’s a dick’—if God is so great then what the fuck is the Holocaust?

I know what you mean. What did you enjoy the most about Israel?

I went on Birthright and they show you all the places, but you don’t really get a lot of time to explore, so to be on a mission as a filmmaker and writer was totally different. For me, it was all about the people. All the energy and what it means to interact with Israelis and just really putting yourself out there.

Going to the West bank was a total mind fuck; it was really scary, but truly life changing. Dressing up as a boy and going to the Kotel, that was crazy too. Also stuff that we didn’t film, like meeting a cute guy on the bus and doing my laundry with him. Everyday is a movie there.

It really is. Falafel or shawarma?

Oh, I don’t know—that’s why you have two hands. One of each.

You’ve been compared to Lena Dunham, another funny Jewish girl. Do you welcome that comparison?

If you’re young and you’re a woman, people need someone to compare you to in order to understand you—so I totally see the comparison and translation of it. I think she has huge balls as a woman and really puts herself out there and has crafted this way to be an auteur and the captain of her own ship. I really admire that and obviously I like to work like that too. We’re different, but I welcome it. Honestly, I think I’m more similar to Penelope Cruz.

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The post Spotlight On: Jessie Kahnweiler, ‘Dude Where’s My Chutzpah’ Filmmaker appeared first on Jewcy.

Move over Jenny Slate, there’s a new web series in town. ‘Dude, Where’s My Chutzpah,’ which premiered this week, features Jessie Kahnweiler on an untraditional quest to find out what it means to live Jewishly (beyond, you know, saying L’Chaim and eating pastrami).

Her job prospects are slim (one regular gig involves dressing like a pickle with an ‘Eat me, I’m kosher’ t-shirt’), her boyfriend is a total dick, and she wore a shiny one-shoulder dress to her grandmother’s funeral (where she eulogizes that her grandmother would be thrilled that she finally was in the same room as so many single Jewish guys). Girl’s a mess. But the news that her late grandmother left her a significant sum of money—with the stipulation that she spend a year living a Jewish life—starts her on an unconventional, and surprisingly entertaining, journey.

The project is Kahnweiler’s brainchild, and her Six Points Fellowship project. The 28-year-old filmmaker has been living in Los Angeles for the last seven years, working in post-production, including a stint at J.J. Abram’s Bad Robot Productions, and writing and filming her own projects on the side (like the web short Baby Love, which features Anchorman’s David Koechner as the older guy who dumps her for being too young, and stars a random baby as the guy she dates next).

Why is this project different from all her other projects, though? This one’s pretty real, she told me. Kahnweiler was raised “really really reform” in the suburbs of Atlanta, GA—she “got bat mitzvahed, ate bagels, went on Birthright and made out with an Israeli dude”—and very much like the version of herself she plays in the series, saw Judaism as her grandmother’s religion, and not her own.

The main question for Kahnweiler: “How would I go about finding my Jewish identity in an authentic way that actually had me giving a shit?”

In Episode 4, Kahnweiler tries out Orthodox Judaism. “That was totally based on my experience being in Los Angeles and going into those communuties and making an ass out of myself and having to ask 12-year-olds what to do,” she explained. “It’s not bullshit.”

She’s like a more Jewish Lena Dunham (“Is it because I’m chubby?”), in the way her ‘Dude, Where’s My Chutzpah’ character exudes an affected, entitled naiveté similar to Hannah, Dunham’s character on Girls. But like Dunham, Kahnweiler is giving legitimacy to the questioning and the curiosity of this 20-something (Jewish) woman, positing that there is something real and important about those struggles, no matter how trivial and self-absorbed they may seem.

“She certainly opened up the door on some level,” Kahnweiler told me. “It was like well, ‘It’s going to be my journey and my story and yeah, I have hair on my chest and love handles, but why shouldn’t I be in it?”

Check out the web series here (new episodes premiere on Thursdays at 10 a.m. PST), and let us know what you think.

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The post Why You Should Probably Be Watching ‘Dude, Where’s My Chutzpah’ appeared first on Jewcy.