Private Project

Hotline - Finale

A transgender attorney begins working at a suicide hotline and starts to look like a murderer after the mysterious death of her sister.

  • Jasmine Patrice White
    Writer
  • Dallas Alexis
    Director
  • Olevia Mitchell
    Producer
  • Melissa Quinones
    Producer
  • Meah Denee Barrington
    Producer
  • Gwendolyn Rogers
    Producer
  • Nat Majette
    Producer
  • Ianne Fields Stewart
    Key Cast
    "Hazel Clarke"
  • Project Type:
    Television, Web / New Media
  • Genres:
    Drama, LGBTQ, CRIME, MYSTERY
  • Runtime:
    7 minutes 52 seconds
  • Production Budget:
    3,200 USD
  • Country of Origin:
    United States
  • Country of Filming:
    United States
  • Language:
    English
  • Aspect Ratio:
    16:9
  • Film Color:
    Color
  • First-time Filmmaker:
    Yes
  • Student Project:
    No
Distribution Information
  • Amazon Prime
    Distributor
    Country: Worldwide
    Rights: All Rights
  • RevoltTV
    Distributor
    Country: Worldwide
    Rights: All Rights
  • OTV
    Distributor
    Country: Worldwide
    Rights: All Rights
Director Biography - Dallas Alexis

Jasmine Patrice White (she/her) is an African American writer and producer. White first garnered attention for her work on the digital series, Hotline, where she raised over $15,000 to complete production.

White is a 2022 recipient of the CRNY grant for $1.6M to produce Original content for BronxNet. Prior to winning the grant, White was a junior executive on the Lifetime Original movies team.

White graduated from Syracuse University’s S.I. Newhouse, where she majored in Television, Radio, and Film with a dual degree in English and African American studies.

Add Director Biography
Director Statement

I write strongly from a black, queer and fat perspective. I’m very conscious of those sorts of bodies and experiences propagating my stories.

I’m always rearranging the lens to incorporate those points of view. I write that way for my loved ones because they deeply inspire me. But I also write that way for myself, because had I seen that representation growing up - as a young, black, fat, queer Christian - maybe I could’ve skipped some traumas.

I’m satisfied with my work, when I develop universal fully fleshed characters who are relatable to anyone, without having the reader think – Oh, here I am reading about a transgender character, doing what I expect a transgender character to do. In "Hotline", I think I’ve succeeded in that aspect and in conveying complexity, while adding a bit of intrigue.