“I chose Lauren Melinda and her film “Before You” because it invites the viewer into a world where forgiveness, empathy, compassion, and kindness are not only present but essential for survival. These principles are woven throughout the film’s emotional arc and are reflected in Lauren’s own artistic mission. Lauren’s work across film, photography, and mixed-media installations serves as a powerful form of advocacy that speaks not only to personal truth but to shared humanity. For these reasons, I believe Lauren Melinda is a deeply deserving recipient of the 2025 Chaz Ebert Phenomenal Person in Film Award.” – Sonia Evans (Chaz Ebert’s Daughter)
In the wake of the Dobbs v. Jackson Women’s Health Organization (June 2022) decision, which overturned Roe v. Wade, Lauren Melinda’s “Before You” emerges as an intimate, unflinching, and profoundly human film. Drawing from her own experience, Melinda tells a story of love, loss, and the complexities of women’s health with both cinematic elegance and deep empathy. Beyond her filmmaking, she is the founder of Simbelle Productions, a nonprofit dedicated to supporting women and amplifying underrepresented voices in the industry. In this conversation, Melinda discusses the inspiration behind her organization, the making of “Before You,” and the social impact work that continues to broaden the film’s reach.
“Before You” was honored with the 2025 Chaz Ebert Phenomenal Person in Film Award at the Cinema Femme Short Film Festival, presented by Chaz Ebert’s daughter Sonia Evans.
Don’t miss a special screening of the film on November 20th at the Metrograph in New York City. Their short film “Before You” is Oscar® Qualified for the 2026 Academy Awards® RSVP here.
Follow “Before You” on Instagram and learn more about Simbelle Productions and their initiatives on their website.
Before we get into “Before You,” I’d love to start with Simbelle Productions. I really love your mission, and I feel like it aligns so closely with what we’re doing at Cinema Femme. Can you talk about what inspired you to start the organization?
I come from the art world. When everything shifted to digital, my whole practice shifted too, and that’s when I began gravitating toward film. What struck me immediately is how collaborative filmmaking is. But even within that collaboration, there’s still a deep loneliness that comes with being an artist.
There are two big reasons why I started Simbelle. First, I wanted to build community. That’s where we really align with Cinema Femme. I kept asking myself: How can I support other filmmakers in the ways I wish I’d been supported?
During “Before You,” I connected with my incredible producers, Helena (Sardinha) and Rafael (Thomaseto). I’d never had producers who truly took care of me—who were supportive and healthy collaborators. In the past, producers were hands-off. It was basically, “Good luck,” and that was it.
When I began fundraising, I reached out to several organizations for fiscal sponsorship, but their fees didn’t quite align with what our project could support at the time. I grew up in a philanthropic family, so I thought, What if I just create a nonprofit production company? That way, funding could come directly to us with no middleman. We could also partner with organizations like Planned Parenthood, which I always knew I wanted to collaborate with. So we made “Before You” through Simbelle—named after my daughters, Simone and Lillybelle.
Simbelle is rooted in the idea of making films that help foster a new generation of women and offer them stories where they can truly see themselves. After we started making “Before You,” I asked Helena and Rafael if they wanted to help me build the company. They loved the idea. We had long conversations about what’s missing in the industry and how we could meaningfully support filmmakers—especially around social impact.
One thing we noticed is that impact work usually comes at the very end of a film’s life, when people are tired and funding is gone. We asked ourselves: How do we begin those conversations early, when the film is still alive?
Things moved quickly. We’ve been on the ground for about a year, and in that time our slate has expanded in ways we couldn’t have imagined — we’re now working across several films. We actually just signed onto another project—our first pre-production film—which is exciting because we can now be part of those early creative and impact conversations.
I want to read the words Sonia Evans shared at the awards ceremony about choosing you for the Chaz Ebert Phenomenal Person in Film Award… What were your thoughts hearing that?
I so deeply appreciated what she saw in the film. That’s always been my goal—bringing humanity to a conversation that’s been so politicized and stripped of nuance. For her to reflect that back to me was incredibly meaningful.
In all my art—film, photography, writing—it’s always been about human connection and opening dialogue. My husband jokes, “Why do you talk about things people aren’t supposed to talk about?” But so many people are living in silence, shame, or guilt. We don’t need to carry that alone.
When you let your own humanity rise to the surface, something shifts. It invites others to bring their stories forward. My team and I have witnessed that again and again at screenings. The honesty and vulnerability people offer after seeing the film has been increible. Charlotte and Alette, who work with us, are in Birmingham right now for a screening and have been sending back the most extraordinary responses.
One thing that’s surprised me is how many red states have programmed the film. I expected blue states to be receptive, where conversations about reproductive health are more normalized. But the majority of our screenings have been in strict-abortion-ban states. Seeing audiences there connect to the film—its love, its pain, its duality—has been really powerful.
That idea of holding two feelings at once is something I talk about with my daughters. “Before You“ is very much about that: immense love for the child you have, and profound grief for the one who never came to be. So many people—women, men, parents—carry these layered experiences of loss. I wanted to honor that with empathy and humanity.
I’ve always admired the work Chaz and Roger did around championing filmmakers, and I’ve always respected Chaz’s words. Having her daughter Sonia speak on her behalf means a lot coming from her.
I also want to get into some of the technical aspects of the film. You’ve mentioned inspiration from filmmakers like Lynne Ramsay and Terrence Malick. Can you speak to that visual inspiration and your collaborators?
A lot of people are surprised when I tell them the transitions were written into the script. They were all blueprinted from the beginning.
The first person I worked with closely on executing them was production designer Danny Cistone. He built everything—the elevator, the hallway, the rooms. We had a warehouse in Burbank for a month before shooting, and he lived in there, basically. Friends came to help paint, wallpaper, build flats. It was all about creating spaces where these transitions could happen practically.
My DP, Ludo (Ludovica Isidori), came on later, but she jumped right in. She’s also a mother, and I think she deeply understood the emotional complexity of the film. She brought an incredible sensitivity to capturing that visually.
Everything was rooted in making sure what was on the page translated on set. Even that couch moment—Danny and I were figuring out the mechanics of how Tala (Ashe) would enter the couch. We wanted everything practical. Minimal VFX. Pure cinematic language.
I’d love to talk about bringing your personal story to the screen. You’ve mentioned that your abortion was for medical reasons—a narrative not often depicted. Why was it important to include that specificity, and what responses have you received?
I’ve always been an advocate for women’s health, but I hadn’t experienced anything firsthand until this. I actually wrote the script before the Dobbs decision. I was writing from a place of loneliness. I had one close friend who had gone through a similar experience just two months before. I thought, If she and I have both experienced this in such a short window, there must be thousands of people—women, men, couples—going through this quietly.
The abortion narrative that’s most often portrayed is the young girl who doesn’t want to be pregnant. That’s one story, but it’s not the only one. There wasn’t a space for stories like mine—stories of wanted pregnancies, of medical necessity, of grief intertwined with love.
People often separate miscarriages and abortions as if they’re fundamentally different experiences, but the physical and emotional trauma can be the same. It lives in your body. Forever.
And no one walks into an abortion excited or celebratory—planned pregnancy or not. The term “pro” is often misunderstood; people assume it means “rah-rah,” but what it really means is supporting necessary, lifesaving healthcare.
When Dobbs happened, I put aside everything else I was writing. It was clear this was the story I needed to tell.
What kind of reactions have you been receiving about this film? It’s so powerful!
The response has been overwhelming. People share their own experiences. Many say the film helped them feel seen.
What surprised me most is how many men come up to us. They’re often left out of the conversation around abortion, but they experience loss too. Seeing themselves reflected has meant a lot to them.
Can you talk about your impact journey with the film and your collaboration with Planned Parenthood?
Right now we’re preparing to push for an Oscar campaign—not with expectations, but because it will amplify the social impact work.
We’re planning university screenings and pairing “Before You” with two other films for conversations around women’s health and why women often silence themselves in moments of loss or shame. Creating community around those experiences is really important to us.
We’ve been collaborating locally with Planned Parenthood in different states—Alabama, Idaho, Missouri. That local approach opens conversation in places where reproductive healthcare is under the most threat.
We’re also hoping to bring on an Executive Producer to help elevate the film and extend its reach. The more eyes we can get on it, the more space we can create for nuanced, human-centered dialogue.
