Meryl Fuckin Streep
For two young screenwriters, a movie pitch takes a turn into the surreal.
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Ava BogleDirectorThe Last Dinner Party, Piano Fingers
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Ava BogleWriterThe Last Dinner Party, Piano Fingers
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Ava BogleProducerThe Last Dinner Party, Piano Fingers
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Falk HentschelProducerStreetDance 2, Legends of Tomorrow
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Jesse GrceProducerNoir, Cher Papa
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Christina K. MooreKey CastThe Last Dinner Party, Fairy Tale Next Door
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Brandon BlackKey CastInsecure, Dear White People
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Rachel AveryKey CastTropic Thunder, Wake Up America!
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Brad GreenquistKey CastPet Sematary, Water for Elephants
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Project Type:Experimental, Short
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Genres:Comedy, Narrative
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Runtime:5 minutes 2 seconds
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Completion Date:August 1, 2017
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Country of Origin:United States
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Country of Filming:United States
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Language:English
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Shooting Format:2K
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Aspect Ratio:16:9
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Film Color:Color
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First-time Filmmaker:No
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Student Project:No
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Lady Filmmakers FestivalBeverly Hills, CA
United States
October 1, 2017
World Premiere
Best Experimental Film -
Mill Valley Film FestivalMill Valley, CA
United States
October 11, 2017
Bay Area Premiere -
SF Indie FestSan Francisco
United States
February 10, 2018
San Francisco Premiere
Best Short Film -
Imaginarium Comic Con Film FestivalsTampa Bay, Indiana, San Francisco, Atlanta, Michigan
United States
March 30, 2018 -
Hollywood Comedy ShortsHollywood, CA
United States
April 22, 2018 -
Burbank International Film FestivalBurbank, CA
United States
September 5, 2018
Ava Bogle is a filmmaker and comedian. Her previous short films Piano Fingers and The Last Dinner Party screened internationally and won awards including, among others, the Grand Jury Prize at HollyShorts and the Audience Award at Dances with Films. As a comedian, Bogle has appeared at The Comedy Store, The Viper Room, and Flappers, where she likes to talk about sex and feminism. Her one-woman show, The Pleasure Project, just premiered at Hollywood Fringe Festival and is currently gearing up for a World Tour.
With Meryl Fuckin Streep, Bogle brings together her childhood fondness for Barbies with her child-like obsession with Meryl Streep, while also exploring her personal disillusionment with being an artist in Hollywood.
I wanted to make a film that mixed Barbies with live action. I tried to hunt down examples of other filmmakers who had done this. Apparently, no one has before. An early influence was Todd Haynes’ Superstar: The Karen Carpenter Story, but his film doesn’t have any live actors in it.
I love working with Barbies because their faces have this creepy neutrality that allows the audience to project their own emotions onto them. Their lack of expression embodies the very nature of soullessness, and therefore provided a perfect foil for the human writers in MERYL FUCKIN STREEP, because the film is about selling out in Hollywood.