Private Project


Cara has a truth bomb for Gramps; she doesn’t expect him to return fire. But, come on, Gramps lived through the war… Cara and her Gramps fall down the generation gap in this sweet-and-salty comedy.

  • Renee Crea
  • Renee Crea
  • Renee Crea
    I'm You, Dickhead
  • Bianca Ritchie
  • Xanthe Paige
    Key Cast
  • John Keightley
    Key Cast
  • Project Type:
  • Runtime:
    6 minutes 27 seconds
  • Completion Date:
    February 23, 2016
  • Production Budget:
    6,000 USD
  • Country of Origin:
  • Country of Filming:
  • Language:
  • Shooting Format:
  • Aspect Ratio:
  • Film Color:
  • First-time Filmmaker:
  • Student Project:
  • Frameline40
    San Francisco
    United States
    June 18, 2016
    World Premiere
  • Austin Film Festival
    United States
    October 14, 2016
  • Melbourne Queer Film Festival
    March 26, 2017
    Melbourne Premiere
  • Queer Screen, Mardi Gras Film Festival
    February 23, 2017
    Australian Premiere
    My Queer Career Finalist
  • Southwest Gay & Lesbian Film Festival
    United States
    October 9, 2016
  • Twist Seattle Queer Film Festival
    United States
    October 16, 2016
  • ImageOut The Rochester LGBT Film Festival
    United States
    October 16, 2016
  • image + nation montreal LESBIAN GAY BI TRANS film festival
    November 25, 2016
  • Vino Kino
    November 19, 2016
  • Vino Kino
    October 29, 2016
  • Barcelona LGBTQ
    October 18, 2016
Director Biography - Renee Crea

DANCE CARD is the directorial debut of filmmaker Renée Crea.

The world premiere for DANCE CARD was at Frameline San Francisco International LGBTQ Film Festival, the oldest, and one of the most prestigious queer festivals in the world.

In 2014 Renée co-produced the highly successful short film I’M YOU, DICKHEAD, which premiered worldwide at Palm Springs International Short Fest, and in Australia at Melbourne International Film Festival. It went on to play at Austin Film Festival, Fantastia, DC Shorts and Flickerfest, and garnered over 120,000 views on YouTube in its first month of release.

Renée freelanced as a Production Manager before producing her first short, INVASION (2008), which played at Palm Springs International Short Fest, Flickerfest, St Kilda Film Festival and Dungog Film Festival.

Having previously worked in Development and Production at the state film agency Screen NSW, Renée has a background in marketing and distribution at companies such as Footprint Films, Moonlight Cinema and Screenrights.

Renée holds a Bachelor of Creative Arts from the Victorian College of Arts.

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Director Statement

I don’t know where I got the idea for DANCE CARD. I was sitting at home one evening, minding my own business, when Cara and Gramps suddenly popped into my head and started talking to one another. I felt like I was eavesdropping, so naturally I took out my pen and paper and started writing down what they said. When they finished talking I looked down at what I had written and thought about what it all meant.
Coming out is such a strange ritual. Why should anyone have to declare his or her sexuality? Of course we all want to live our lives truthfully, openly and without shame, and desire the love and acceptance of our dear ones. It still seems weird that the conversation is around how we love, not who.
For me, Gramps represents an old guard. The people who, when it comes to understanding anything outside of their straight world, aren’t necessarily trying to be hurtful. But even when they’re well meaning they still don’t get it. Like when Gramps refers to his friends, Floss and Mabel, and asks Cara, “Who would deny them a bit of companionship?” Err, sorry Gramps that’s not it. Or questioning Cara on how being a lesbian doesn’t fit within an outdated social pastime, “When you’re on the dancefloor, who leads?” Even when there is an opportunity to relate, the way Cara uses the dance card to communicate how she is feeling, it is negated in the next scene by Gramps preoccupation with what happens “in the bedroom.”
Cara is representative of a new generation. Maybe she’s offended by some of the things Gramps says, but she still loves her grandfather. Yet most of all, she is brave enough to risk alienating him because it’s important that he understands her, and love her, for who she really is.
What does the dance card itself represent? It’s a lover's keepsake, a nice old custom that nobody is trying to take from those who cherish it. But perhaps, after all these years, there’s room on the dance card for a few more names.
Though we end on a punchline (pun not intended) we never wanted the joke to be on Cara. While we may laugh at an awkward family moment, wouldn’t it be nice if “coming out” became an outdated custom. Like the dance card itself, something that we look back on with curious fascination? Remember when we…?