Kiah Clingman was our Finishing Funds Winner of the 2024 Fall Season Short Film Fund with her short film HER PRETTY VAGINA, which she wrote and directed. The story follows Kaleigh who, plagued by the physical and emotional tolls of endometriosis and HPV, embarks on a relentless quest for empathy which drives her to desperate measures.
Tell us about your short. What is it about and what inspired you to write it?
HER PRETTY VAGINA is a bold and unflinching exploration of women’s health, intimacy, and resilience, told through the lens of a young woman navigating endometriosis and HPV. Inspired by my personal experiences and the often-overlooked conversations around reproductive health, HPV aims to destigmatize these issues and give a voice to those who feel unseen. I wanted to create a narrative that was raw yet empowering, sparking dialogue about the realities many women face silently. I struggled with both of these for years and felt silenced by the stigma society places on simply existing as a woman.
Creating HPV has been a cathartic process for me, allowing me to channel my personal struggles into a narrative that can resonate with others who have faced similar challenges. The film isn’t just a story, but it’s a reflection of the ongoing anxiety, the resilience required to navigate life with a chronic health issue, and the importance of awareness and education about women’s health.
What motivated you to enter the Short Film Fund?
I’ve believed in the story’s ability to make an impact for a long time, but as a filmmaker, I knew that securing finishing funds would allow us to truly bring my vision to life at its highest potential. The Short Film Fund not only offered financial support but also a platform to amplify the message behind HER PRETTY VAGINA. I wasn’t even familiar with all of the perks and benefits I’ll now receive from the program. I’m most excited about the mentorship and access I’ll have with other amazing creatives. Simply submitting gave me hope for a chance to align with an organization that champions bold, meaningful stories. After reading the other winner’s profile and learning about their project along with previous winners, I know I’m in good company.
How did you feel when you found out that you won?
Oh my gosh. The feeling is indescribable. That sounds so cliche, but truly you know hundreds to thousands of people apply for these grants. And Shore Scripts is by far known as one of the most competitive ones. Winning truly reaffirmed that my story…my truth…mattered and that there is space for authentic, taboo-breaking narratives in the film world. It can be so challenging to have a positive outlook in an industry that can be focused on self-centered, capitalistic goals, so to see an organization that champions real art—it truly meant the world. It was a moment of validation for all the hard work, vulnerability, and passion that went into creating this project.
You have extensive experience as a producer but this was your first film as a solo writer/director. What were some of the biggest challenges in taking on this new role? Any lessons learned that you feel will make you a better producer? What skills as a producer transferred best into the director role? Did you also produce this film or did you bring someone else on board?
This is SUCH a great question! I’m feeling incredibly energized by directing right now, especially after dedicating the last 10 years to producing, five of them full-time. HER PRETTY VAGINA marks my official solo directorial debut. My first written short, EAVESDROPPING ON THE ELDERS, was co-directed in 2019 with Robinson Vil, and I leaned heavily on him during that production. For HPV, it felt like I truly stepped into my own. It was my story, my leadership, and my vision.
Directing has been exciting for me in this phase of my life because I’ve felt like I’ve lost my “voice” in so many aspects of life. Directing is helping me find my voice again and empowering me to speak loud and proud and know that others will listen and trust what I have to say. Finding the courage to lead creatively was my biggest obstacle. It can be scary and although I’ve led plenty of times as the Logistics Queen, creativity can be more ambiguous and subjective, so you have to think differently and focus on storytelling and performance.
Producing absolutely allowed me to be a better director. I was able to think quicker, communicate more effectively, and anticipate challenges more easily. I do think because my mind was juggling all of this, it caused me to get out of my creative space at times. Luckily my team insulated me and encouraged me to focus on the creative. I did however get a taste of my own medicine as I “pushed for more time” or “wanted to add shots”- all things as a producer I have to navigate with a director.
Leading into HPV, I was also one of the lead producers, coming off the feature film COLOR BOOK, which I produced through the AT&T Untold Stories program. That project had just wrapped, and I managed a successful crowdfunding campaign for HPV, raising over $25K and completed pre-production within a month. These experiences prepared me for the challenges of directing, but also reaffirmed how important it is to surround yourself with a team you trust. The week leading up to production, my team did their best to give me creative space to focus on creative leadership and to truly own my vision. While on set, my AD and producers protected me and made sure I was not distracted by any fires they were putting out (and trust me there were some!) no matter how hard I tried to wear all of the hats. They embraced my director’s hat and said I wore it well. I honestly can’t wait to do it again.
How did you crew up for your project and where did you shoot? Were you largely on location?
My company, KiahCan Productions, partnered with a local production company, Pineapple Cut Pictures, to assemble a crew that was not only incredibly talented but also deeply invested in the story we were telling. Inclusivity was a priority and we made sure that AT LEAST 80% of our crew were women and individuals from underrepresented backgrounds. I knew my DP had to be a woman. I needed the visual language of this story to be seen through a woman’s perspective, so I advocated to bring on the outrageously talented Veronica Bouza on board. She was immediately in and the rest is history.
We shot on location for all of our shots, mostly due to budget. I am considering a small studio shoot for a few pickup shots I need for the film…but have to chat with my producers about that, haha.
What was your casting process? Did you hold auditions or offer the main roles to talent you were already familiar with?
Outside of the role of Cyler, I held auditions for every role! For Cyler specifically, I had been a fan of Vince Swann for many years since we worked on Undercover Brother 2 together. I got to watch him command a room and a comedic set with such grace. Vince, now a series regular on The Ms. Pat Show, has always stayed on my radar, and we’ve kept in touch over the years. When I approached him about HER PRETTY VAGINA, he was immediately on board. He brought so much humor and energy to set; it was a joy to watch him work.
Taylor Polidore Williams, who plays Kaleigh, was honestly a Godsend. We serendipitously ran into each other at an Orange Theory class (at a location I never visit)! We hadn’t seen each other in years, so we caught up in the parking lot, where she mentioned she planned to audition for my project. We connected deeply, sharing our personal ties to the story, and I eagerly waited for her submission. When our team received her audition, we knew she was the one. Throughout pre-production and production, Taylor brought not only her immense talent but also a professionalism and presence that elevated every room she entered. She truly is a star, and I’m beyond grateful that she not only embodied Kaleigh, but also joined us as an Executive Producer on the project.
Our supporting cast is equally incredible. Jordan Blair Brown, our casting director, was instrumental in helping us find nuanced and funny performances for the other roles. Each actor brought something unique and unforgettable to HPV, and I’m eternally grateful for their contributions to bringing this story to life.
How many days did you shoot for? Were you able to stay on schedule? Did you get everything you hoped to capture?
We shot for 4 days! After lots of back and forth with my producers (of course, they/we wanted to stick with 3), but because of the locations and all we needed to shoot, I knew we needed 4 and that’s what we went with!
We stayed on schedule for the MOST part, but had some logistical hiccups that delayed us especially on our last day. We weren’t able to get into our location on the last day which delayed that day a couple of hours. That was the end of the film, so there were no shortcuts around it. We did end up rushing and thank goodness the location allowed us to stay for an additional hour. But man, that day was a blur from all of the stress!
Does any director get ALL they hope to capture? Maybe so, but I don’t think I’m at that level yet, haha. There were things I wish we had time to grab, but now that I’m in the edit, I also am very happy with all we did capture and know that at the end of the day, my audience won’t know what we didn’t get, they’ll just appreciate what we did get.
We love hearing serendipitous stories. Did anything happen during production that was initially a “problem” or obstacle that ended up being the best possible thing for the project?
We lost a location for our tea shop that we (I, haha) really wanted! It was a week before the shoot and we had to make a tough decision. It felt like a huge blow, and I initially struggled to accept our backup option because it wasn’t what I had envisioned creatively. My stubbornness made it hard to be flexible at first, but once I took a step back and reimagined the shots, I realized this change was actually an opportunity. The new space, while more restrictive, pushed me to think outside the box. It forced me to hone in on the climax of the story, both visually and through the performances. What initially felt like a setback turned into an opportunity to approach the moment differently, and it ended up enhancing the emotional weight of the story.
Where are you in post-production? What are your next steps?
We are so super close to locking a cut! Veronica, if you’re reading this, I promise we are almost ready to bring on a colorist, haha! Our next steps include color grading, sound mixing, finishing our score, finalizing our VFX shots, and then we’ll focus on submitting to festivals! So exciting and I’m nervous! I’m also really looking forward to building out an impact campaign for the film. I’m working with rePRO Films and Peace is Loud through their lab to learn more about impact and create a campaign that really resonates with women around the world, allowing them to be seen and heard.
Do you have any advice for filmmakers embarking on their first short film?
Tell your truth. Tell your story. Let them judge, let them stare, let them talk. You will heal, you will inspire, you will conquer. If you start with your story, and tell it from an authentic, meaningful place, you really can’t go wrong.
Feel free to mention anything else about the shoot that we may have missed.
One of the most rewarding parts of this project was the community it fostered. From our cast to our crew to our crowdfunding supporters, everyone brought their heart to the story. It reminded me why I love filmmaking. It allows us the opportunity to create something meaningful with others who share that same passion.
To learn more about Kiah, visit https://kiahcan.com/ and follow her on Instagram.
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The 2025 Spring Season of the Short Film Fund is now open. This season, we’re awarding another $15,000 cash production grant and $4,000 in finishing funds. Learn more here.
