I’ve been a fan of Abby Pierce’s work for years. I’ve had the chance to interview her about several of her short films, and each project is completely unique while sharing the same compassion, wit, and heart that define her filmmaking. (One of those films even involved an actual heart.) I first met Abby when she was making films in Chicago; today, she’s a New York City-based filmmaker whose work continues to grow in both scope and impact.

For the past decade, Pierce has taught improvisation and theater in jails and prisons across Chicago and New York, experiences that have shaped her work as both a storyteller and an advocate for criminal justice reform. Alongside co-creator, co-writer, and star Tiffany “Tiny” Cruz—a formerly incarcerated artist and educator—Pierce has created two interconnected short films, “So, Boom” and its prequel, “Run It Back,” which follow two sisters navigating opposite sides of incarceration. While “So, Boom” explores the unwritten rules of entering jail, “Run It Back” examines the challenges of reentry after release.

Both films are rooted in lived experience, with many of the cast and collaborators directly impacted by the justice system. “Run It Back” was selected for funding, development, and premiere through Tribeca Studios’ Eli Lilly Vital Stories program, and both films screened at the 2026 Tribeca Festival, where they received a Special Jury Mention. The shorts have also traveled to prison film festivals across the country. Together, they serve as proof of concept for a feature Pierce and Cruz are developing that expands this world beyond the prison walls.

Cinema Femme spoke with Pierce about collaborating with Cruz, translating years of teaching inside correctional facilities into fiction, working with system-impacted artists, and using humor and empathy to tell stories that invite audiences to see the humanity behind incarceration.

Can you talk about the inception of “Run It Back” and “So, Boom”?

Both shorts exist in the same cinematic universe. They follow the same main character, Sweet Tea, and her younger sister.

“Run It Back” was selected by Tribeca Studios for funding, development, and premiere through the Eli Lilly Vital Stories program. Once we were accepted into that incubator, we realized we also had this story we wanted to tell with “So, Boom,” which is about going into prison. We thought, “Let’s make a prequel.” “Run It Back” explores the day Sweet Tea is released from prison and what reentry looks like for her.

While “So, Boom” asks, “What are the rules of going into jail?” “Run It Back” asks, “What are the rules of reentry?” Sweet Tea learns those rules from her parole officer, played by Clarence Maclin, who starred in “Sing Sing” and was BAFTA-nominated and Oscar-nominated for co-writing the screenplay. He’s a phenomenal actor, and he and Sweet Tea have a wonderful dynamic throughout the film.

At its core, she’s just trying to get back to her younger sister, whom she hasn’t seen in years.

Both films also serve as proof of concept for a feature we’re currently writing and developing. We wanted to build out this world of system-impacted people and explore the experiences surrounding incarceration without spending all of our time inside prison—even though we did shoot inside a prison on Staten Island for one of the films.

Maybe you can talk a little about how you became involved with the prison system and met the people who inspired these stories.

I’ve been teaching in jails and prisons for about ten years. For the last six years, I’ve taught theater and improvisation. I started in Chicago at Cook County Jail, working with women in maximum security.

After moving to New York City, I began teaching at Rikers Island and in juvenile detention facilities, primarily working with incarcerated youth. I’ve been co-teaching with Tiffany “Tiny” Cruz, who stars in both films and co-wrote “So, Boom” with me. We really created this project together.

Tiny was formerly incarcerated at Rikers. She first came through Drama Club, the nonprofit where we both now teach, as a student. Today, she’s one of the teachers, going back inside to work with young people.

One day we were waiting to start class, just chatting about how our week had been. Tiny told me she’d stayed up all night giving advice to a friend who was turning herself in the next day—explaining what to expect and how to prepare. I immediately flipped over the attendance sheet, and we started writing the first draft of “So, Boom” right there.

Tiny and I have now taught more than 500 improv classes together. We have an incredibly trusting creative partnership, and I never would have wanted to tell these stories without her lived experience and her generosity in bringing so much of herself to the work.

I loved “So, Boom.” The pacing is so energetic, and all those practical details—like making the Dorito makeup or the list of things to know—feel almost like TikTok tutorials. Can you talk about building those elements into the film?

We made this film for the young women we work with, so we wanted it to have that fast, Gen Z, TikTok-style energy. The music—from artists like Leikeli47 —helps create that tone.

One of my favorite comments came from someone at Tribeca, who said it was “the funniest film of the festival about… a woman going to prison.” I really appreciated that because our goal is to tell these stories in a way that invites people in.

Tiny and I are both improv teachers, and comedy is such a huge part of how we connect with the young people we work with. Humor creates an opening for empathy.

Before Tribeca, “So, Boom” had only played at prison film festivals, starting with the San Quentin Film Festival and then several others held inside prisons across the country. Watching it with incarcerated audiences is an incredible experience because everyone recognizes those little innovations. When Sweet Tea makes eyeliner out of a Doritos or opens the ramen noodles, the audience erupts. Those commissary ramen noodles are instantly recognizable. Those details come directly from lived experience, and people really respond to seeing that authenticity onscreen.

I noticed Hannah Welever is one of the producers. We’ve interviewed her before—she’s worked as a cinematographer, director, and now producer. Can you talk about your relationship with Hannah?

Hannah and I met about twelve years ago when we were both just starting out. I was making a web series, and I think she was the AC on it. We’ve stayed friends ever since.

She even cast me in a Laura Jane Grace music video where I got to play Wayne from Wayne’s World, which was incredibly fun.

Hannah is a fantastic director, an amazing producer, and just an incredible friend. She’s such a professional and has a real gift for bringing talented people together.

She recently launched Super Athletic Co. with Maddie Matheson and Ricky Staffieri from The Bear. “Run It Back” became part of that launch at Tribeca. They executive produced the film and held their production company’s launch party during the festival, which was really exciting.

I’m thrilled to see what they’re building. They’re wonderful collaborators and genuinely great people.

Finally, what do you hope audiences—especially people who haven’t experienced incarceration—take away from these films?

I really hope these films help bridge the gap between people who have been incarcerated and people who haven’t.

I want audiences to remember that incarcerated people—especially incarcerated young people—are full human beings deserving of care and dignity. The way we treat many young people in the justice system is inhumane, and that’s a much bigger conversation. But if we’re ever going to rethink our philosophy around incarceration, we first have to recognize the humanity of the people inside.

Roger Ebert called movies “empathy machines,” and I love that idea. I wish I could bring everyone into my improv classes so they could meet these incredible young people themselves, but I can’t. I can’t bring my students out to meet everyone. So filmmaking becomes another way of making that introduction.

Many of the actors in these films have experienced incarceration themselves. My hope is that audiences meet them, connect with them, root for them, and leave seeing them not as statistics, but as people.

To learn more about the films and stay up to date on upcoming screenings, visit the official “So, Boom” website.