Everyone remembers the complicated feelings that come along with being a young adult. In fact, some of us may still be in that season of our lives, experiencing those feelings. It’s a time of transition, a sector of self discovery, and one of the most crucial periods, emotionally and developmentally.

Amazon’s “Sterling Point” is a one-way ticket back to that period of emotional vulnerability, when you’re simply trying to figure out who you are.

In this coming-of-age show, 17-year-old Annie (Ella Rubin) and her brother (Keen Ruffalo) are being raised in New York City by their adoptive father (Jay Duplass). Annie’s life gets turned upside down when she inherits her grandfather’s island in Canada. With her future uncertain and burning curiosity about her family’s past, she decides to go to Sterling Point.

Upon her arrival she’s met with Kate and Joe (Elle-Máijá Tailfeathers and Jeffrey Dean Morgan, respectively), whose presence in her life bring more questions than answers. The outgoing Oona (Bo Bragason), her little sister Maple (Mabel Strachan), intriguing boat boy Ellis (Jacob Whiteduck-Lavoie), their friend Sully (Nikko Angelo Hinayo), and the cantankerous Ramona (Amélie Hoeferle), take Annie in as one of their own for the summer. She also finds herself reunited with familiar faces, like her middle school classmate Rory (Daniel Quinn-Toye) and his mom Denise (Missi Pyle).

With all of these new people suddenly in Annie’s life, she’s forced to grapple with a lot of unanswered questions about her family, herself, and her place in the world.

Filled with familiar nostalgic feelings and the magic of summer, “Sterling Point” grabs the attention of the viewers with it’s authenticity and ability to be vulnerable in a way not many young adult shows can. With stellar performances, beautiful visuals, and a soundtrack that will have you humming along, the show leaves the viewers wishing that summer in Canada would never end.

Cinema Femme had the wonderful opportunity to talk with the cast and crew of “Sterling Point” about their show. First, Cinema Femme sat down with Megan Park, director, co-showrunner and executive producer of the show.

Cinema Femme is focused on highlighting female and gender expansive creatives in the film industry. You’ve done some amazing work as a female creative, especially on this show. Could you share a little bit about your journey, and what’s brought you to this point?

Megan Park (MP): I didn’t expect to be writing and directing, honestly. I grew up in a small town in Canada, I didn’t know anyone in the industry. As a kid I was drawn to the arts, but the only option was theatre camp, and local theatre companies, so that’s sort of how I ended up in performing. It went okay for me, I was working a lot, but I always kind of felt like it wasn’t exactly where I was supposed to be. 

I would see my peers who were actors be really driven to get these parts and be very active in their journeys, and I was kind of like “Wait, something isn’t totally clicking for me.” Honestly the second I started writing, I was like this is what it was all for. All those years of being on set and acting were leading up to this. I was so hooked in a way where it never feels like work, the writing process and directing, it’s really fun and so fulfilling, and I’m so lucky to be able to make the transition and have the opportunities I’ve had. It’s been such a crazy and fast journey, I’ve only been doing this for like five years, and it’s been a whirlwind and so fun.

What was your experience like working with such electric young actresses on the show? It’s a very female centric show and feminine story.

MP: That was what was so exciting to me [about this show] was the opportunity to make a YA show that isn’t just about romance. There is romance in it, but it’s really the sisterhood story at the core, which I was really excited to explore.

These young actresses are so talented, I’m like where do you guys come from? What water are you drinking? It’s insane. Not only so talented, but so professional, prepared and kind. They just created this environment with each other that I think you really feel, and it was such a safe creative vibe where they could really go for it and try things, that’s where the magic happened. It was so fulfilling and fun to work with them, they were just so ridiculously talented. I hope they’re all the next biggest movie stars in the world.

What was your relationship like with the cast? It seems like you guys must have had the best time filming this show!

MP: We did! I mean filming a show is a lot of work, but I think we were able to really enjoy it and have fun at the same time. My mentality when you’re making a show, or a movie too, is that there is always going to be fires to put out, but there is always a solution and it should ultimately be fun, and very creative. It was such a kind, professional group of people, and it really created the best atmosphere on set and everybody really brought their A-game. Again it was a lot of work, people were really doing the work, but at the same time we were able to really enjoy it and have fun.

There are lots of themes in the show revolving around family and self discovery. How did you try to highlight those themes, and what do you hope the audience takes away from this?

MP: I hope they see themselves in somebody in the show, or in one of the storylines, because I think that’s what we all want – to be seen and understood. I think, again, there’s this feeling with YA content that it has to be really dark or really light and fluffy to do well, and I was like “Why can’t it be all the elements we love about YA, nostalgic and fun, the firsts and the love stories, but also be elevated and real, and funny while it’s also dark. At the core, the north star was having this be something authentic, and figuring out how to make this feel real. If it’s not feeling real, throw it out the window. Hopefully people feel like they’re dropping into people’s lives that feel like real people. That was my goal. 

If the show had a song that best described it, what would it be?

MP: Oh my gosh that is such a hard question! All I can think about is the Gracie Abrams song, “Look At My Life” that’s in the trailer because it fits the show so well. 

My daughter, who is six, got to go to the set and meet all the actors and had such a fun time, they were so sweet with her. The other night we finally got to see the trailer with the song, and she got emotional. She watched it and said, “This song just makes me emotional because it just reminds me of all of the good times being up at Mascoca with the cast”. So now it’s really that song. 

It really is the perfect choice for this show. 

MP: I know, I feel so lucky that we got that.

I totally agree. What has helped you stay confident on set in moments where you do feel insecure, or in over your head?

MP: My mentality on set is that as director you’re the curator, and you hire really great people, mostly women, that know what they’re doing and give them the space to do it. You also have to ask questions. Be collaborative, that’s what I do when I don’t know what the answer is. I have an incredible team of supportive people around me that can help me. 

My DP, Kristen Correll, and I work so hand in hand, I couldn’t do it without her. I still don’t know the names of the lenses, but I don’t have to know cause she knows. It’s to ask questions and lean on your support system. You can’t know everything all of the time, it’s too much.  

Finally, circling back to being a female creative, is there any advice you’d give young women out there who are nervous about entering such a male dominated field? 

MP: The first thing is you don’t need to know everything. Men are not afraid, they don’t feel like they have to know everything to be confident, where women are inherently harder on themselves. I would say that I felt like I couldn’t do this job because I didn’t go to film school, and I don’t know everything about lenses. I didn’t even know everything about the writing software, but you don’t have to. If you have a story you want to tell that you feel passionate about, and you have a strong voice and the work ethic, you can do it. You don’t have to be perfect at everything to make great art. 

And always remember that you’re smarter than men. You’re smarter and you’ve got this. Women should run the world, let’s be real.

Next, Cinema Femme talked to the cast of the show about their experience working with Megan and other women heads of crew on creating such a female forward story, and what their journeys have been like up to this point. 

What was the community like on set? The story feels very authentic and the relationships feel very lived in. What helped you get to that point in the performances?

Jay Duplass (JD): Megan comes from this world. She’s an incredible storyteller and an incredible gatherer of people, so it’s a dream. You show up and you’re just doing it. You’re there. Everybody is a pro and knows exactly what they’re doing. It feels really special to be a part of it, it’s a rare experience.

Missi Pyle (MP): It all goes back to Megan, who is the supreme leader of the show. The minute you meet her, you feel like you’re important and that she’s known you forever. She knows this world, it feel very open and creative. She’s just so excited, she’s crafted this thing, and you get this feeling that she can’t wait for us all to be together and for the world to see it and see what’s going to happen. 

Bo Bragason (BB): When you’re surrounded by people you really click with, and because we weren’t from  Toronto where we were filming most of the time, it was almost as if – you know this show has the topic of found family and it felt like that. It really did. We all bonded so much and spent so much time together over four or five months, it was so sad to leave, but we made something really beautiful.

Nikko Angelo Hinayo (NH): We all kind of just knew we wanted to make something really awesome and we all cared so deeply about it, and in return that kind of subconsciously made us all want to hang out with each other a lot more. It was a lot of fun, and they made it so, so easy.

There are lots of themes of family, and finding oneself, which is a common experience for many. How did you try to highlight those themes in your performances? What do you hope the audience takes away from this show and those themes?

Daniel Quinn-Toye (DQ): I think that’s something so powerful about the show, it tackled so many themes that young people encounter at some point in their lives, it’s unique but universal at the same time

BB: Self discovery is such a natural part of living, especially when you’re in your teens. So many doors are opening for you, you don’t really know what to put your energy into. Naturally so, you’ll make mistakes in everyday life. It was interesting getting to play a character where you know what they’re going to do, and in my case, some things Oona does I really don’t agree with as myself as Bo, but you’ve got to give them grace, because as everyone is, they’re figuring it out. 

Mabel Strachan (MS): I’m really excited for people to see how real and natural the acting is, and hopefully they can feel that like we did.

NH: I think the show does such a wonderful job of exploring everyone’s different types of identities and bringing truth to them, and that’s all because Megan Park was just so wonderful, and encouraging us to bring all of our weird quirks into these characters. I think it reads pretty well and I’m excited for audiences to see it. 

MH: What would your character’s favorite song be?

DQ: Chet Baker’s “Autumn Leaves.”

Jacob Whiteduck-Lavoie (JW): I think Ellis is stuck in time a little bit, he’s still stuck in 2010 in his head. When I made my playlist while we were shooting, I just had tons of 2010 hits. Lots of Black Eyed Peas and Katy Perry and Bruno Mars. If I had to pick one song I’d pick Katy Perry’s “Last Friday Night”

JD: Steely Dan’s “Do It Again.”

MP: Mine would be “Everybody Dance Now.”

Elle-Máijá Tailfeathers (ET): I think Kate would love anything by Shania Twain or CCR.

BB: The song “Anything” by Adirenne Lenker. When I was trying to get myself into Oona’s headspace, it just made so much sense to the character and what she’s going through, and it’s also just a great song. 

MS: I think for Maple it would be “Both Sides Now” by Joni Mitchell. I was listening to that song a lot in Canada, and it feels really accurate to her. 

NH: I was listening to a lot of “Unwritten” by Natasha Benningfiel. I quickly found that to be the core theme for Sully’s character. 

Cinema Femme is focused on highlighting female and gender expansive creatives in the film industry. Could you share a bit about your journey getting to this point as a woman and gender expansive creatives in film?

NH: The first conversation I had for the show when I got it was with the costume designer Marissa Schwartz. When we sat down, it was a really important conversation about bringing some of my gender identity and expression in the show and have that be reflected in a really strong, quiet way through the clothing. It’s just a testament to being young and experimenting and trying to figure yourself out, not just for queer and gender expansive people. Everyone can relate to this idea of trying things to see if they fit. Playing around with the idea of gender was really fun.

BB: I’ve never known anything different. I got into the industry properly when I was 17, and I’d like to think within my experience I haven’t had too many hardships because of my gender, which is really nice. I think we are progressing as an industry, like we are offering more opportunities to women and those who are in the binary. 

ET: As an Indigenous woman, I started out as an actor and really struggled to find my place in the industry and find stories that felt authentic and true, just based on all of the sort of misrepresentation and appropriation and erasure that has happened in this industry. So I quit acting and went back to school, and started making my own films 15 years ago and telling my own stories. That really changed the path for me. It was deeply empowering to suddenly have agency again, and to be able to determine the types of stories I wanted to tell. I found community in that, and so much inspiration and joy and support from other women and gender expansive creatives, and I was so excited to work with Megan. She had similar experiences of working in front of and behind the camera, and whenever I’m given an acting opportunity where I get to watch a director or creative work who I admire, I jump at that opportunity, and so it was such a wonderful experience just to be on set and witness Megan working. And the other directors as well, there are so many talented directors on this show. It was fantastic to be in the room with them and watch them work and see how they navigate that space and create with others and collaborate. 

MP: When I was in college my boyfriend was in this all male sketch group, and I found it very offensive. They were great, they were funny, but just that they were all men, so I immediately went out and started an all female sketch group called “Bitches Funny” and then for me it was just about “how do I take the lid off of all of it”. I’m also really tall so I’ve been pigeon holed into things I can and can’t do. I’ve enjoyed being the weirdest characters I could possibly be. There was always that “women can’t be funny”, some of those dick holes said that back in the day, which is just the dumbest thing in the entire world, because being a woman is just so much. For me, I first needed to prove them wrong, but along the way it’s been like “what is it to be a women, what is it to be non binary, what does it all mean?” and watching people explore has been really fun. To be able to be myself and embrace all of my femme shit was really fun.

Lastly, what was your experience like working with Megan, and many other female heads of crew on this very female-centric story?

DQ: This is Megan’s show, first and foremost. There were so many helpful people in the process, but Megan, this was her baby. She had such a vision and wasn’t afraid to talk at length about thoughts and ideas, and you could let loose on set with dialogue and change things. It speaks to the fact this is a female centric story…these strong women at the center of the story have so much agency and power and are empowered to do what’s right for them, and I don’t know if that would have been possible without Megan at the helm.

JW: It was the first set I had been on where it was run by women. It was so fun and so refreshing. They just created this power duo where it just felt so fun on set. Megan let us loose and say whatever, she had this big freedom on improvising and saying whatever we felt like saying. Also, I’ve worked with DP’s before where they’re just kind of old and grumpy and you don’t have chemistry with them, but with Kristen Correll, from the start I just knew it was going to be a blast. A set driven by these two wonderful women who I have so much respect for, it was just so much fun. I’d love to do it again next summer. 

BB: To be surrounded by so many women who were in positions of power, it’s so nice. I felt more at ease in a sense knowing that all of these women, who with this story predominately following Annie and Ramona, these strong women figuring themselves out. It’s always nice to have women on set and we need more women in the film industry. More power to them.

MS: I love that I’m so young and I get to see that. Like on one of my first projects, I’m so grateful, everyone was so amazing and it was so great to be on set with women especially, and it’s great to see that for inspiration.

NH: Having a character like Sully be in a show like this is so cool and so important. I’ve had the wonderful opportunity to work with so many female directors on stage and through film, and it almost felt like I was right at home. It was such a safe environment, and again Megan was constantly checking in and making sure we were being heard and respected, and if anything were to come up we were encouraged to speak up and take it on directly. It was a wonderful experience on set. 

All 8 episodes of “Sterling Point” begin streaming on Amazon Prime on August 5th, 2026.