Table of Contents
Three Key Takeaways
- THE VANITY explores the tension between real human connection and the performative demands of social media through a dystopian sci-fi horror lens.
- Megan Rosati’s filmmaking is deeply personal, blending emotional intimacy with genre storytelling to create uniquely vulnerable moments.
- Independent filmmaking thrives on community and resourcefulness, with Rosati emphasizing respect and collaboration as keys to artistic success.
Filmmaker Megan Rosati returns to FilmQuest with her short film THE VANITY, a sci-fi horror story that examines the personal cost of social media obsession. Featuring performances by Rosati herself and writer-actor Evan Watkins, the film navigates the near future where AI-driven platforms threaten to replace authenticity with curated personas. Supported by a talented crew including producer duo Muffy Morton and Nick Ray McCann, cinematographer Suzaine Aguirre, and editor Josh Ethier, THE VANITY exemplifies genre storytelling that challenges convention and resonates deeply.
What drew you to make this film? Why this story, and why now?
Evan Watkins and I protested in the SAG and WGA strikes - that same year, AI caused both of us to lose our day jobs in social media. We were furious that a technology could potentially replace both our day jobs and threaten our artistic career. We crowdfunded our short film on the promise that we would employ real people and pay them, and show that the classic model of filmmaking was not only possible, but created art that could not be ignored. Our film speaks directly to our anxiety over being forced to endlessly market ourselves on social media apps at the direct cost to the time we could spend working on our art. This film asks the question, what is the cost to our real lives when we are always performing an idea of ourselves for anonymous people online?
What surprised you most about the filmmaking process this time—creatively or logistically? Was there a moment on set or in post that completely changed how you saw the story?
Finding our credits song was a real moment for me. I found the songwriter on TikTok, and hunted down their representatives to get that particular song. I love how it changes the tone of the film from melancholy and elegaic at the end to something bracing, satirical, and upbeat. I feel it really changes how the audience walks out of our movie.
Is there a moment in the film that feels the most you—something only you could have made?
There is a moment when the main characters, Erinn and Conor, share a moment of tenderness where they are laughing and bonding. The scene is vulnerable and intimate, that shows their connection as real people - and what The Vanity is about to take away from them. Before I pivoted to horror, I made a webseries called 52 Ways To Break Up, where each episode was a break up: not the moment you decide, but the moment you know it's over. To bring an element of this dramatic emotional intimacy into a genre known for shocks and scares is something that sets THE VANITY apart from other genre short films (and many people in the audience cite as their favorite).
What was the hardest creative decision you made while making this film?
At one point it became apparent that my planned shot, of putting the camera through the vanity mirror, was not possible given the time that we had. In one night I had to redo the whole shot list for the following day to capture that moment from different angles, in a different way. That was the shot I most wanted in the film, but I had to sacrifice it to get the rest of the film in the can on our timeline.
What do you hope audiences take away from your film?
I hope that audiences leave the film questioning how much of ourselves we give to social media instead of the real people present in our lives. I also hope that they continue to think about the elliptical story we are telling and solve the puzzle of which characters we are watching in their own way.
“Our film speaks directly to our anxiety over being forced to endlessly market ourselves on social media apps at the direct cost to the time we could spend working on our art.”
How has this film shaped or shifted the kind of stories you want to tell next?
This film was a technical stretch for me, and I look forward to taking these skills - handling a team of 30+, visual effects, and practical build - to my next projects.
What’s a tool, technique, or resource that really helped you during production?
Our steadicam operator was a hero, a genius dancer who beautifully executed the shots I had in mind for the opening and closing moments of the film. We went on a real search to find someone good and available for our rate, and really lucked out with him.
“By working with your friends and current resources, you can accomplish things way more than what your money can buy.”
Independent filmmakers often rewrite the rules out of necessity. What do you think is the greatest strength of independent filmmaking, and how did you lean into that on this project? Is there a lesson or breakthrough you’d share with others navigating this path?
The greatest strength is utilizing the resources and relationships you already have on hand. Almost everyone who worked on this project was the product of a pre-existing relationship or situation - for example, we filmed the short in a studio that rented to us for cheap, because I had already shot two short films there. The location was our actual house. My editor, Josh Ethier, who is now working in some of the most popular genre films out there (COMPANION, among them) is a personal friend that I met through writing for Fangoria. He went above and beyond his duties as an editor by hooking us up with sound design, and even doing the color correction. Although we paid everyone we work with, the value we got from them was far beyond what we can afford. My lesson for others is pay everyone, no matter how small an amount: it's an energetic exchange that shows respect for their efforts. By working with your friends and current resources, you can accomplish things way more than what your money can buy.
“To bring an element of this dramatic emotional intimacy into a genre known for shocks and scares is something that sets THE VANITY apart from other genre short films.”
What does it mean to you to have your film selected for FilmQuest, one of the world’s top reviewed genre film festivals?
I adore Filmquest and its community: they programmed my first short film, a microshort anthology with the female horror collective FATALE COLLECTIVE. It was called FATALE COLLECTIVE: BLEED, and closed with my short segment ASMR. Filmquest also programmed the feature length anthology GIVE ME AN A in 2022, where I contributed a segment PLAN C. Both times, they have shown massive support and recognition for female filmmakers. The people I met at Filmquest in 2018 have continued to support and cheerlead me throughout my career. Not many festivals have that kind of community, and I am so grateful to return.
FilmQuest celebrates the majesty and might of genre filmmaking across fantasy, horror, sci-fi, action, thriller, western, kung-fu, and beyond. How does your film fit within—or push the boundaries of—genre storytelling?
THE VANITY itself pushes the boundaries of genre: it's a drama, a satire, a science fiction dystopia, and a horror story. I love that genre films can encompass multiple genres, and personally I'm a fan of the films that are hard to categorize.
Where do you see this film going next?
We'd love to be programmed in one of the genre youtube channels, like ALTER or DUST, so that more people can view our film.
“At the core of all my work is a desire to make people feel less alone."
Cast & Crew
- Megan Rosati — Director & Actor, known for blending emotional intimacy with genre storytelling.
- Evan Watkins — Writer & Actor, co-creator of THE VANITY.
- Muffy Morton & Nick Ray McCann — Producers, Rally & Co.
- Suzaine Aguirre — Director of Photography.
- Chloe Dykstra & Brandon Winfrey — Co-Producers.
- Josh Ethier — Editor and sound design/color correction contributor.
- Karesa McElheny, V Nixie, Geoff Ross — Actors.
- Alvaro Rodriguez — Composer.
Learn more about the film here.
