Nothing puts a person’s life into perspective like a devastating collective experience that impacts all aspects of society. That’s certainly the case for actress Cristen Coppen’s protagonist of Jenna in the new thriller, ‘Farewelling.’ During the aftermath of the harrowing circumstances that led to her best friend’s death during a recent pandemic, Jenna is also forced to understand how her own decisions have led her to the troubling circumstances she’s currently in.

Rodes Phire, who co-wrote the script for the project with Sarah McMaster, also made her feature film directorial debut on the project, after she helmed several shorts over the past decade. The scribe-director, who also served as a producer on ‘Farewelling,’ co-starred in the feature, as well, alongside Coppen, Robert Thomas Preston, Rob Evors, Lauren Selman, Anna Briggs, Rachel Deutsch, Betsy Rushton, Autumn Noel, Anna Dahl, Marie Finch, Andrew John, Walter Cox, Ben Torkelson and fellow producer Rachel Glago.

Set in the midst of the pandemic and aftermath of her best friend’s overdose, ‘Farewelling’ follows Jenna (Coppen) as she finds herself in crisis as she reunites with those still around her. Questions of her own ethics and morals surface as she grapples with the questioning of why everything is happening, before she eventually discovers what it takes to truly breaks her.

‘Farewelling’ is having its World Premiere tonight, Saturday, June 24 at 9:30pm PT at the TCL Chinese Theatres in Hollywood as part of Dances With Films: L.A. The drama is screening as part of the festival’s Features section.

Phire generously took the time earlier this week to talk about penning, helming, producing and starring in ‘Farewelling’ during an exclusive interview over Zoom. Among other things, the filmmaker discussed that she was in part inspired to write and direct the feature so that she could discuss COVID-19’s impact on people, particularly those who were just starting their careers and families. She also mentioned how she appreciates being able to premiere the feature during Dances With Films, as she feels the programmers are very supportive of the filmmakers who are presenting their projects at the festival.

Film Factual (FF): You co-wrote the script for the new thriller, ‘Farewelling,’ with Sarah McMaster. What was your inspiration in scribing the screenplay, and how did you develop the movie together?

Rodes Phire (RP): Well, I’ll start with the development of the project. My co-writer, Sarah McMaster, and I had been talking about the impact that the pandemic was having on us 30-somethings.

There was a film that we started discussing during the pandemic, ‘The Big Chill,’ by Lawrence Kasdan. It was kind of reflective of how that film, which was set in the ‘80s, is about a group of 30-somethings who were impacted by the Vietnam War.

As we began to talk further about the pandemic and its impact on people who were really starting to get going in their careers, and also starting families and getting mortgages. Then there were layoffs due to shutdowns and quarantines.

So we really knew that we wanted to put something into different characters and make a time capsule piece that was reflective of the times.

FF: Besides penning the script, you also made your feature film directorial debut on the project. How did writing the screenplay influence your helming style throughout the production? How would you describe your overall directorial style on set?

RP: I like to say, first and foremost, that I’m a writer; it’s where I thrive. But I discovered that when I graduated from grad school that I also wanted to direct my pieces because I’m a visual writer. I see things in my head before I write it down.

So in writing this piece, Sarah and I would go back and forth. She’s on the east coast, and I’m here (in California). We would go back and forth over each line to make sure they were really reflective of the characters. We started with all of their backstories and dove into who they were. We then made sure that each one of them had their own voice.

So when it came time to direct, especially since we had such a short window film – we only had 14 days – I felt like I had the script memorized.

I also knew the cast I was bringing in, like Rob Evors and Cristen Coppen. They’ve been good friends of mine for over a decade. I knew they had the talent to deliver, which was crucial. I also worked with them, so that the lines felt reflective of the emotional state of what was going on.

I really feel it’s a gift when you work with very talented actors. Both Cristen and Rob were coming to the set being deeply impacted by the pandemic and the isolation factor. So it was a real gift to see my words come to life by such great performers.

FF: Besides scribing and helming ‘Farewelling,’ you also star in the feature alongside the other cast members, including Cristen Coppen and Rob Evors, who you just mentioned. Why did you also decide to star in the drama?

RP: I will always have small little roles in my films. (Phire laughs.) One day I would also love to be front and center in front of the camera while also directing. But at this point in my career, I really feel like my focus is in writing and directing.

The day we shot my scene on this film, I hadn’t totally looked at the call sheet. My AD (Assistant Director)/producer Rachel (Glago) comes running up to me and says, “Okay, we’re setting up for your scene.” (Phire laughs.)

I don’t even think my hair was dry! It was up in a bun all day and so gross! I was like, “I need 10 to go do my hair!” But it’s delightful to know I still got it! (Phire laughs.)

FF: The movie was shot on location in Bear Valley Springs, California. What was the process like of filming the project on locations throughout the production?

RP: During the pandemic, my husband and I moved back to Bear Valley Springs in the Tehachapi Mountains. The first thing we said was, “Wow, this place is beautiful; we have to make a movie up here. I can’t believe movies aren’t made up here.”

Then I was talking to a dear colleague of mine, and he said, “Movies used to be made up there all the time back in the cowboy days. Tehachapi is farm country for L.A. Chuck Connors and Bob Barke used to live up there.” He had a list of old celebrities who had huge properties out here. So shooting here was a no-brainer.

The film is a psychological thriller, and it’s really about the deconstruction of a woman’s psyche as you add more onto the plate. Sarah and I wanted to examine how much stuff someone can take. At the same time, we were trying to stabilize during a pandemic. So we knew that since we have something that was so heavy and not necessarily pretty in the story, we wanted to contrast it with the environment.

When I’m writing, I use the perspective that someone can be in the most beautiful place, but if they’re mentally struggling, that place could be a prison. So that’s how we went about finding this location – we wanted to find something that’s beautiful and scenic, so that we can show that this woman’s falling apart against it.

FF: In addition to penning and directing ‘Farewelling,’ you also served as one of the producers. How did you balance your helming and producing duties throughout the production?

RP: I would not have been able to do it without my producing partner, Rachel Glago. This is our third production together. I like to say that I’m the creative; I’m the kite, and she’s the kite holder. (Phire laughs.)

It really is a tag-team process; she definitely comes to me and checks in on things when necessary. I can get us to the starting line, and then at some point, I like to put on a different hat. So I’ll do all of the pre-production work, including having calls non-stop with Rachel, following up on documents and reviewing contracts.

But then about two weeks before we start principal photography, I’ll put on my director’s hat. I want to make sure that all the talent eels really comfortable.

I’m also not the best artist, as far as sketches go. But I’ll make a few sketches of every shot, and then have to translate them for my cinematographer. (Phire laughs.)

FF: ‘Farewelling’ is having its World Premiere (tonight,) Saturday, June 24 at 9:30pm at the TCL Chinese Theatres in Hollywood during Dances With Films L.A. What does it mean to you that the thriller is premiering at the festival?

RP: I can’t say enough wonderful things about Dances With Films. The programmers I’ve gotten to work with have been incredibly engaging and responsive. They’re pros at this; the festival has been going on for 26 years.

They’re such an inclusive festival in that they’re 100 percent a festival for filmmakers. So our orientation was about 200 people in a room, and the programmers introduced all of us. They told us to set something up and get to know each other. So everybody was like, “What are you on? Oh my gosh, that’s great!”

They also went over every step of the process with us. We had non-stop email communication, and they offered us all the tools and assets that we needed. So Dances With Films is a festival that I will submit to again and again; the experience has been lovely!

FF: Are there any other festivals that you’ll be screening the project at following its premiere at Dances With Films? Do you also have any plans for the drama’s official distribution yet?

RP: We haven’t heard back from about a dozen festivals yet. But we’re really excited about the prospect, and would like to continue the festival run. But with that being said, should Netflix, Lionsgate, A24 or any distributors were to give us a call, we would love secure a release in which the movie can be streamed!

Our intention as filmmakers was to make something that was reflective of the times, and something that we can share without over inundating people. So there aren’t any masks or use of words that we were sick of hearing, like COVID and quarantine, in our film. But we did focus on the emotions, feelings of isolation and financial despair, and overuse of alcohol that we experienced during the pandemic.

But we did want to focus on feeling as though you’re on a roller coaster that you didn’t sign up for throughout the film. We hope to share that with a wide audience after the premiere.