JEALOUSY is a complex emotion that encompasses feelings ranging from fear of abandonment to rage and humiliation. Jealousy is aroused when one perceives a real or imagined threat to a valued relationship from a third party.

KATTY lives with unwanted cats in a SHELTER until MOMMY adopts him. All is well at home, even after DADDY pops into the picture. Katty has a super-power to extend his paws and claws. Katty can lovingly stretch his arms around his owners, and also catch mice. But, Mommy gets pregnant, and Katty's jealousy is aroused when she nurses the new baby. Katty lashes out at Daddy with his long claw, with unhappy results. An instrumental version of the Rolling Stones' "Gimme Shelter" plays throughout. Intertitles with text narrate the animation.

  • Andrea Bass
  • Project Type:
    Animation, Short, Student
  • Runtime:
    2 minutes 30 seconds
  • Completion Date:
    December 31, 2019
  • Production Budget:
    100 USD
  • Country of Filming:
    United States
  • Language:
  • Shooting Format:
    Adobe Animate
  • Aspect Ratio:
  • Film Color:
  • First-time Filmmaker:
  • Student Project:
    Yes - The City College of New York
  • CUNY Film Festival
    New York
    United States
    May 16, 2020
    Nomination: Best Animation
  • Miami International Independent Film Festival
    Miami, FL
    United States
    August 21, 2020
    Official Selection
  • Aurora Film Festival
    August 16, 2020
  • Milan
    July 20, 2020
    Official Selection
Director Biography - Andrea Bass


My art practice is an unabashedly personal representation of contemporary life, feminism and femaleness, filtered through pop media, my prior corporate marketing career, and intensive NYC parenting. This work includes digital art, assemblage, video, poetry, and fiction in the form of graphic novels and animation. I try to be amusing if possible.

I completed my MFA in Studio Art at The City College of New York in 2018. My solo thesis show: "(Ms.) Understandings of Feminism" visually embraced hypocrisies, catastrophes, tropes, expectations, affectations, and clichés of having-it-all.

After graduation, I was accepted into the October 2018 L'Air FIAP Jean Monnet Paris Residency. In March 2019, my work Wretched Sister Installation Video was selected for the group show "La Femme du Futur" at Galerie Mémoire de l'Avenir in Paris. A review and a still from this film (portraying a man attacking a woman with a screwdriver) appeared on the opening page of the French online publication Arts Hebdo Médias.

Since September, 2019, my visual "All Hands on Deck" has appeared as public art on 24-foot long flood barriers in the South Street Seaport neighborhood in NYC. In the US, group show venues include A.I.R. Gallery (Brooklyn), Grand Central Terminal Gallery, The Every Woman Biennial, The Invisible Dog Art Center, Local Project ArtSpace (LIC), Rockaway! /MOMA PS1, The New Britain Museum of Art, and Brooklyn Waterfront Artist Collective.

I self-published my zine, Wretched Sister: Calamities of the 1970s-2000s in 2019.
My poem 3 Blues Songs about Facebook was published in The Offbeat, a literary journal of Michigan State University in spring, 2017.

Prior to engaging full-time in art, I was a frazzled corporate marketer for 20+ years. After amassing sufficient (funds and) life-experience to produce worthy content, I began thinking of myself as an artist in 2014.

I am one of a very limited group of rare and peculiar New Yorkers with an MBA (U Chicago) AND an MFA (CCNY). I sublet studio space at The Invisible Dog Art Center in Brooklyn.

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Director Statement

Funny, But Not Funny

I create highly visible graphic energy, irony, and humor in my work, but the themes are serious: marginalization of women, assault, child abuse, elder abuse, and colorism.

As visual dramaturge, I cast real and invented characters to convey narrative. My techniques are analog and digital, including assemblage, printing, drawing, video, and painting. My fictional character/avatar Wretched Sister (WS) experiences life events as calamities, which "coincidentally" occur on the same exact date as tabloid catastrophes, merging two seemingly unrelated incidents into one time slot. (Like the way we always remember where we were on 9/11). My animated character "Katty" demonstrates the upshot of extreme jealousy.

I employ Barbies as stand-ins for me and other contemporary females. As the world's most popular toy ever, Barbie represents not just impossible shapeliness, but also the aspirations of 20th and 21st century women. Before Barbie, there were "baby" dolls, forcing girls into "mother" roles. Barbie can undertake any career (after a change in clothes).

Despite the horrors of violence, with bright visuals and deadpan narrator text, my juxtapositions offer uncanny incongruities. In other words, despite the hateful subject matter, I try to be amusing if possible.