DIRECTOR

Lilly Dickinson is a transgender director, writer, and film music composer from western Massachusetts. Since 2011 Dickinson has been writing, directing, and scoring micro budget DIY Short and Feature Length films that explore existential questions, mental health, and identity. With metaphoric imagery and voyeuristic cinematography, Dickinson’s abstract narratives mix the disorienting and harsh world of nonlinear storytelling with vignettes of vulnerability and intimacy. Dickinson’s first feature film The Making of a Deathbed premiered at the New Hampshire Film Festival in 2022 and was awarded Outstanding Achievement in the Experimental Feature category at the 2023 Massachusetts Independent Film Festival. Dickinson’s music scores and sound designs have also been featured in films screened at the New York Film Festival in Lincoln Center and the NYC Performa Biennial in 2021. Since graduating with a Bachelors of Fine Arts in Film and Video from Massachusetts College of Art and Design in 2017, Dickinson has worked as a Video Producer and Production Coordinator for Berklee College of Music’s online school, Berklee Online. Dickinson has produced over 1000 videos for over 25 Bachelor and Masters courses for the school’s online learning platform. Dickinson was the Producer on the course, “Electronic Music Performance Techniques” that landed Berklee Online a Silver Telly Award in 2021.

ASSISTANT DIRECTOR/CO-PRODUCER

Jagger Perusse is a multidisciplinary filmmaker, having worked professionally in nearly every production department across a career in independent film. Most relevant, Perusse has assistant directed and assistant produced on several independent horror short films. The driving force of his career has been to help support a director achieve their vision however possible. Using the cross departmental knowledge of filmmaking to effectively communicate and keep a production moving on schedule has been one of the most vital achievements on any of his projects. Perusse graduated from the Massachusetts College of Art and Design in 2017 having studied Film and Video, spent a number of years working freelance in Grip and Electric, as a DIT, and heading the audio department for a number of projects, both personal and commercial. Most recently, starting in 2020, he has held the Video Editor position at Berklee College of Music’s online school, Berklee Online, while holding down a robust freelance practice, involving himself in a broad number of production communities across Boston, Somerville, and Cambridge, MA. 

PRODUCER

Casey Cann is a visual media artist whose work straddles the boundaries of traditional visual mediums. Making his first music video as early as high school, film has been a driving  passion all through his life. Cann pursued a dual degree in Film/Video and Studio for Interrelated Media (SIM) at Massachusetts College of Art and Design. Cann's creative projects reflect an enduring fascination with collective efforts and the unexpected beauty of shared artistic spaces. Following graduation, Cann joined the Derek Bok Center for Teaching and Learning at Harvard University. This role evolved over the course of 9 years, where Cann honed a huge variety of skills in motion graphics, 3D modeling, game design, programming, and machine learning tools for image manipulation. As part of an R&D lab dedicated to supporting faculty in creating distinctive media experiences, Cann thrives on the diverse challenges and niche requests that each project brings, cultivating an inventive problem-solving approach and a deep technical expertise. These days, Cann has moved over to teaching multimedia and making at Thayer Academy. Cann’s personal work is marked by an enduring commitment to low-budget, high-impact filmmaking. Cann collaborated with fellow artists on an ambitious five-year micro-budget feature film project, The Making of a Deathbed, with director Lilly Dickinson. Premiering at the New Hampshire Film Festival and receiving several nominations and awards across its festival run, it was a labor of love that solidified his belief in the power of experimental narratives and community-driven production.