Blog, Douen, Film Journey, Independent film

THAT’S A WRAP… FOR THE US. NOW OFF TO TRINIDAD (AND I NEED YOUR HELP)

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We wrapped production this past week… and I honestly couldn’t be more proud of what we created independently with such a small but mighty cast and crew.

We had 7 days to complete filming in the US.

Seven.

As worried as I was about the timeframe… and yes, I voiced my uncertainty about whether we’d get all the shots… I am so proud that we made it through.

Behind the scenes of the therapy session.

Did we get EVERYTHING I wanted?

Not quite.

I would have loved more time… closer to 12 days as mentioned previously… to sit in the process a bit longer and capture a few more inserts.

But the budget wouldn’t allow for it.

And that’s the reality of indie filmmaking.

Still… what we did capture?

Beautiful.

Both Directors of Photography, here in the US and in Trinidad, shot on the Arri Alexa (a camera I’ve always wanted to work with), and the footage is gorgeous and so beautifully creepy. 🙂

Capture of the VFX set up on the camera monitor.

I originally planned to film the final scene somewhere nearby, with the intention of replicating the Trinidad location in Palo Seco.

But after being there in February…

After standing in that space…

I thought to myself:

There is absolutely NO WAY I can recreate that forest (that bush) here in the States.

No way.

Child actors, Jr and Lystra,, in Palo Seco, Trinidad.

So I made a very brave decision…

I didn’t include that scene in our US schedule.

Because I know, deep in my spirit, that the film deserves to end where it began.

In Palo Seco, Trinidad.

In the same location as the inciting incident… the root of the family’s trauma.

It only makes sense.

Shot of the camera monitor during the scene at Caribbean Market.

I’ve always been someone who moves on faith.

And this moment is no different.

We weren’t able to raise the additional funds to expand to a 12-day shoot.

But we did make 7 days work.

And for that, I’m incredibly grateful, especially to our Producer for helping shape a schedule that made the impossible, possible. Shout out to Kanithea!

Now, the final scene in Trinidad is scheduled for the first weekend in May.

And with that…

I’m asking for your support.

If you’re in a position to make a tax-deductible donation, it would truly mean so much. Your support goes directly toward completing this final piece of production.

Donate Here

And if giving isn’t possible right now, I completely understand.

Sharing, connecting me with someone who believes in storytelling, or even just sending good energy our way… is appreciated.

Post-production is next… editing, color, sound… all of it.

But I’m taking this one step at a time.

As I’ve been learning…

I don’t have to control every part of the process.

Just stay committed to the vision.

Have fundraising ideas?
Know an angel investor?

Let’s connect.

Thank you for being here with me… truly.

More to come.

Peace and blessings,
Alyscia

Douen, Film Journey, Filmmaking, Independent film

FROM TRINIDAD & TOBAGO TO WHAT’S NEXT

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We Wrapped in Trinidad. And I’ve Never Been More Sure.

We wrapped production on the first scene of DOUEN in Palo Seco, Trinidad & Tobago.

I didn’t raise the funds I had hoped for before traveling.
But I knew I would already be home for Carnival, and something in me said:

Go anyway.
Gather a crew.
Make it happen.

And I did.

Alyscia Cunningham - Trinidad - Balisier

Filming on the land of my lineage was something that could never be replicated in Louisiana, Florida, or on a soundstage dressed to “feel” Caribbean.

It wasn’t just the palm trees or the humidity.

It was the spirit.
It was the soil.
It was the beautiful landscape and trees.
It was the sounds of the animals.

No substitute could have given me that.

One scene down.
Sixty-two more to go.

Here’s a glimpse of what we created:

What You Didn’t See

Four days before production, one of the fathers decided he no longer wanted his son participating. He wasn’t comfortable introducing his son to the folklore.

His decision could have stopped everything.

Instead, my cousin made a call.
A mother said yes.
Her son, Nathan, showed up excited… lit up by the story and the opportunity.

That moment reminded me why this film is so important.

This is bigger than horror.

It’s culture.
It’s identity.
It’s healing.

Blocking and rehearsal with the stars of the movie - Azaria and Nathan. This was the night before production, and they pulled it off well.
Blocking and rehearsal with the stars of the movie – Azaria and Nathan. This was the night before production, and they pulled it off well.

The Truth About What’s Next

We begin full production in the U.S. at the end of March.

Because of the $30,000 I raised through Seed & Spark (thank you), we currently have 7 days to shoot the remaining 62 scenes.

Seven days is doable.

But not for the film I see.

Originally, I planned for 18 days.
After refining everything, I know we can do it in 12.

Twelve days gives space for:

  • Performances to breathe.
  • Horror to build slowly and intentionally.
  • Emotional moments to land.
  • A safe and sustainable pace for cast and crew.

Seven days is rushing.

Twelve days is crafting.

And DOUEN deserves not only to be crafted but crafted as beautifully as I envision it.

This Isn’t Just a Folklore Horror Film

Yes, it’s inspired by Caribbean folklore.

But at its core, DOUEN is about generational trauma.
It’s about what happens when there are no apologies for those who hurt us…
and how heal anyway, so we don’t pass pain to the next generation.

So many families, Caribbean, American, or otherwise, will see themselves in this story.

And I refuse to rush a story like that simply because of budget limitations.

A Transparent Ask

Some people have unsubscribed from these newsletters.
I completely respect that. As a matter of fact, I add that option at the top of every email.

The reality is, everyone is not your audience.

But those who remain? You’re here for a reason.

If this story resonates with you…
If you believe culturally inspired horror has a place in cinema…
If you believe stories about healing generational trauma are important…

I am asking for your support.

To move from 7 days to 12 days of production, we need additional funding.
Not excess.
Not luxury.

Just enough time to honor the vision properly.

Your donation is tax-deductible through our fiscal sponsor Women in Film & Video.

If you can give, I am deeply grateful.
If you can’t, please share with someone who can.

Here is the link to donate:
https://www.wifv.org/donations/#id=32008&cid=783&wid=4201

Donate Here

Trinidad proved something to me.

Even with tight resources, I can bring beauty to life.
I can gather community.
I can execute.

Now I’m asking for the support to do it without rushing the heart out of it.

With gratitude always,
Alyscia

Alyscia Cunningham Artist Statement for DOUEN, graphic with her photo in black and white and her artist statement.
fundraiser, My Journey

WHAT SHOULD YOU DO WHEN SOMEONE TRIES TO TAKE YOUR FILM IDEA?

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They Can’t Tell Our Stories Like We Can

I knew it was only a matter of time before someone without the creativity… or the cultural connection, would find it too tempting to resist doing what colonizers have done for centuries: take.

A filmmaker friend recently let me know that a project titled DOUEN is listed as “In Development” on IMDb. Same name. Same entity. But here’s the thing: it has nothing to do with Caribbean culture, and although it isn’t being written or directed by anyone from the Caribbean diaspora, it’s unfortunately not surprising that a brown face is being put on the front line to make it appear authentic.

Sadly, this isn’t new. Too often, Black and Brown filmmakers like myself are preyed upon, with the assumption that we won’t secure the funding to bring our projects to life. What struck me most here was learning this filmmaker may be connected to a past mentor. Someone who once positioned themselves as a supporter of women of color in film and knew about my plans for this feature.

But here’s the truth: no matter how hard someone tries to copy, they will never capture our stories. They aren’t theirs to tell.

So what should I do when someone tries to take my film idea? I do what I’ve always done… I keep going. I keep pushing.

And that’s exactly what I’m doing.

And on Thursday, October 9th, I’ll be celebrating that launch at Port City Brewing Company in Alexandria, VA with a special screening and fundraiser. Huge thanks to Port City for hosting! RSVP here.

I invite you to join me on this journey. Although October 8th is just 27 days away, your early, tax-deductible donations will help bring this film to the screen and ensure our stories are told by us.

Onward and upward, always.

Peace & Blessings,

Alyscia Cunningham

My Journey

MY ANCESTORS – MEMORIES, JOURNEYS & FORGIVENESS

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Over the past several years, I’ve been doing some digging. A deep dive (as far as I can possibly go) into my family history.

Maternal grandparents, Aldwin and Daphne Brown (Peters). San Fernando, Trinidad, September 16, 1951.
Paternal grandparents, Huge Cunningham and Eileen Cunningham (Ramsey). Princes Town, Trinidad, 1949.

Knowing that I have ancestors is such a beautiful blessing. But knowing is not enough. I want to have knowledge of them by name and character. Although some have visited me in my dreams, I want to feel their connectedness in the fibers of my being. Because in knowing them, I gain a deeper understanding of myself and discover the root of my family cycles.

Thankfully, I’ve had time to sit with my elders and hear stories, which then led me to collect records and beautiful photos. Around 13 years old I took a few old family photos from my grandmother’s photo album in Queens, NY. To be honest, I didn’t ask her for permission, but I promised myself that I would take care of it. These photos were, and still are, precious to me. It gives me a glimpse of the memories they must have experienced in those moments captured in time. 

Eventually I told my grandmother that I took the photos, and she let me keep them, allowing me the chance to ask questions to know more about their journey. Having the photos gave me an opportunity to get to know my ancestors better and ask questions I may not have thought about without them.

That same curiosity I had as a child, asking endless questions, now fuels my work as a documentarian, always searching for the truth in people’s stories.

It was the knowing of their stories that I learned to develop empathy without quite knowing how to put that understanding together. As I grew older, I realized I was connecting personality traits with the experiences of my family’s personalities. I realized that character traits are a result of our upbringing.

Maternal grandfather, his mother, and siblings. Back row from left to right – Irving Brown (b. 1918), Ethelina Brown (b. 1910-1911), Celina Brown (b. 1913), Aldwin R. Brown (b. 1920, my grandfather); Bottom left to right – Evans Brown (b. 1916), Juliette (Yaa) Brown (great-grandmother), and Mildred Brown (b. 1907-1908). Punsin (not shown), born in 1904, died at 3-years-old. Siparia, Trinidad, date unknown.
Paternal great-grandmother, Eunice Ayers (my father’s father’s mother), and her sister (Rosie Ayers). New Grant, Trinidad, 1940s.
Paternal great-grandfather, Fleming Peters (my mother’s mother’s father). Penal, Trinidad, 1980s.
Paternal great-grandmother Lila (my father’s mothers’ mother). Location and date unknown.
Paternal grandfather, Hugh Cunningham. Trinidad, date unknown.
Paternal grandmother, Eileen Cunningham (Ramsey). Trinidad, date unknown.

I truly believe that being aware of someone’s experience, especially in childhood, allows us to connect the dots to who they are as adults and gives us an opportunity to be empathetic. This doesn’t mean certain behavior should be excused. Instead, it allows us the ability to see life through someone else’s experience.

I won’t use this space to reflect on decisions that my elders could have done differently, for I can only imagine how traumatic it must have been at that time for them, as well as their offspring. I am a product of them, and I know that with all the challenges they have faced, they were human. 

Paternal grandmother, Eileen Cunningham (Ramsey), and her sister. Trinidad, date unknown.
Maternal great-grandparents (far right), with my grandmother (in the middle, holding papers), Back row, from left to right: George Benoit (Auntie Genia’s husband), Girlie Rajpaul (cousin), Nora Lewis (great grandmother’s sister-in-law), Fleming Peters, aka Papa (great grandfather),
Front row, from left to right: Evelyn Elcock, Virginia Benoit, aka Aunty Genia, Daphne Peters-Brown (my grandmother), Cecelia White-Peters, aka Granny. My grandmother was flying to the US for the first time on this day. Piarco Airport, Trinidad, 1969.
CLOSE UP – Maternal great-grandparents , Fleming and Cecelia Peters (White). Piarco Airport, Trinidad, 1969.
CLOSE UP – Maternal grandmother, Daphne Brown (Peters) (far right), Genia Benoit (left), and aunt in-law Nora Lewis (in back). Piarco Airport, Trinidad, 1969.

So instead I’m going to use the space to simply share these beautiful photos, open the space of forgiveness for decisions they may have regretted or maybe never even considered, and learn from their example to break certain generational cycles with my children that no longer serve us.

And although I haven’t met them all, or I may not remember them much, my ancestors make it very clear that they are with me. They make sure that my dreams are not forgotten and push me beyond what I can see.

For that, I am truly grateful.

A toast to my ancestors… and to yours. May we learn, forgive, and carry their stories forward.

Maternal grandparents, Aldwin and Daphne Brown (Peters). San Fernando, Trinidad, 1950s.

Blog, My Journey

Birthplace

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“There are places we fall in love with instantly—only to realize, they’ve been a part of us all along.”

I visited my birthplace, Tacoma, WA, a place I haven’t been since I was 2-years old. I never expected to remember it since I honestly didn’t think I would have a clear memory from that time of my life. But, when I got off the plane, and took in the beautiful mountains and greenery surrounding me, I was convinced that somehow, I innately not only remember, but loved this place when I was young.

I can only imagine that little me was in awe of the evergreens and mountainous land. That I probably stared at my surroundings and felt connected to it.

My dad was stationed in Tacoma when he served in the military, not long after arriving in the States from Trinidad. We moved to Germany in 1981, when I was almost 3, but it was short lived due to my mom suffering a stroke. My grandmother, who was a nurse, flew over to help my mom with basic support because the German nurses refused to help my mom. Maybe in their own ignorance, they were convinced that if they touched her, they would turn Black. So idiotic. Their experience with racism is a whole other story that I won’t get into.

A few months after our move, my grandmother took us to stay with her and my grandfather in Queens, NY, which is my first clear memory of home. Although we moved to MD when I was a pre-teen, my dad’s work at Pan Am provided us with unlimited airlines tickets. My brother’s and I spent most of our weekends in Queens with friends and family. I would also visit my school (Our Lady of Sorrow) because I missed it so much.  My mom also continued her work as a court clerk in Manhattan Family Court, which provided me with NYC insurance until I was 21-years old (yes, I was traveling to NY for all of my doctors and dentist visits).

Long story short, I spent much of my time where it felt like home to me.

In my junior year of college, I went on a retreat with the school’s women’s group (Sisters of Light). The retreat took place in the middle of the woods in somewhere on the west side of Maryland. Instantaneously, I was in love with the forest. There is an energy I get from the quietness of the tress and the serenity of the forest that I couldn’t quite explain. While most of the women in the group were scared, I was energized—and I’ve been hook ever since.

Retreat with Sisters of the Light, womens' group from Montgomery College (Takoma Park, MD - 1999).
West Maryland. Retreat with Montgomery College Sisters of the Light group (1999).
Sisters of the Light, womens' group from Montgomery College (Takoma Park, MD - 1999)
West Maryland. Retreat with Montgomery College Sisters of the Light group (1999).

As kids, we spent some of our summers in Trinidad, which is amazingly beautiful, green, and mountainous. I assumed my visits there sparked my love for the land, which I’m sure only deepened it. But when I drove out of the Seattle/Tacoma Airport and witness the beauty of the land that surrounded me, I immediately knew my love had to have grown from this place first.

I don’t remember what little Alyscia was thinking at that time, but I can only imagine that I must have been fascinated by what I saw. I must have soaked in all that beauty—which had been the inspiration from feeling at home in the words, and wholeheartedly enjoying the which later inspired my feeling at home in the woods and my wholehearted joy in the many hiking excursions I’ve been on.

Miraculously—and completely unplanned—my son also serves in the military, at the same location my father was also stationed and where I was born. When he was young, I took him on a few hikes, but his complaints about not wanting to go forced me to leave him out future adventures (I want to enjoy myself). At that time, I told him…

“One day, you’ll go back to it.”

He doubted me.

On this trip—my first time back to my birthplace—my son guided us through one of his favorite hiking trails. I left feeling grateful, soaking up our time with him, in my birthplace, and in the surrounding bountifulness of the mountain and the forest. My favorite place, with my favorite people (minus my husband—who didn’t make this trip).

This was a full circle moment of connectedness. I give thanks for it all.

Film Tip, My Journey

THE MIDDLE IS WHERE MOST PEOPLE QUIT

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The older I grow the more I realize that the goal I initially viewed as “making it” as an artist, isn’t what I see it as now. Through determination and diligence I’ve learned that community engagement… from the small but mighty pockets of support I’ve been grateful to receive over the years. It’s something money can’t buy.

It doesn’t mean I don’t appreciate the accolades and rewards, because I do. But I’ve also grown to understand that accolades are subjective, including grants and film festival acceptances. I’ve heard from those within the industry that about 80% of films accepted into major festivals (give or take) have already been pre-determined through the filmmaker’s connections with programmers and agents. That leaves about 20% for the rest of us independent filmmakers to shoot our shot.

I’m grateful that I carved a path for myself in this world. As any independent artist knows, it’s not easy and although anything is possible, it’s definitely not for the faint of heart. 


When things have gotten tough, I could have quit…

“Nobody talks about the middle. The part where the excitement fades and progress stalls. Where the work feels endless, the wins feel small, and the finish line isn’t even in sight. The middle part is where most people quit – not because they couldn’t do it, but because they thought it wasn’t supposed to feel this way. But this is actually where the growth happens. Push through. One day, this chapter will be the part of the story you’re most proud of.”  – Jay Yang, via London’s Writer’s Salon

I’ve been diligent and adamant about staying true to my cause of creating works of art that have an impact despite the fact that it hasn’t necessarily paid the bills… until now for those who don’t know, I also work in residential construction). Being selected as an Artist-in-Residence with the Arts and Humanities Council of Montgomery County  has been a blessing. Had I not stayed true to what aligns with my authenticity, I would have never been in this position.

Having the opportunity to create an impact in my community is my sweet spot and I plan to continue even after my residency ends.

As I embark on this new territory of producing my first feature film, with the understanding that it will be a new territory, I am pushing through with the knowingness that my ancestors and the Universe has me and will always guide me in the right direction.

If you’d like to support this journey and be part of bringing this story to life, you’re invited to contribute to my community-led fundraiser here. Your support is truly appreciated.  

A toast to being in the middle.

With that in mind… enjoy this filmmaker tip.

Event, film festival, film screening, My Journey

SEEING WITHOUT SIGHT & DOUEN II Video Recap

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The community premiere at AFI Silver Theatre and Cultural Center on Februay 16, 2025, SEEING WITHOUT SIGHT and DOUEN II was a resounding success, and it’s all thanks to my unwavering supporters. Whether you contributed directly or cheered me on along the way, every bit of your encouragement has helped bring these films to life.

If you missed the event, I invite you to enjoy this short video recep of the premiere: Alyscia Cunningham AFI Silver Theatre Premiere Video Recap

After this sold-out community premiere, many asked, “How can I support DOUEN feature project?” Well—this is your opportunity. I’m inviting you to be a part of the next phase of the journey.

Ways to support: 

Supporter Perks:
$50 – Name listed on project webpage
$100 – Name in film credits (plus above)
$250 – Name listed on IMDb (plus above)
$1,000 – Join us on set for a day (plus all perks above)

Interested in being a Producer or Executive Producer?
Amazing! Reach out. I’d love to discuss in detail.

Let’s raise the spirits, and the funds, to bring DOUEN to life.

Thank you to those who’ve been a vital part of this journey. Your belief in my work continues to inspire me every day.

Warm regards,

Alyscia Cunningham

Interview

Black Women In Horror Podcast: Interview with Meosha Bean

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I had the pleasure of diving into an insightful conversation with Meosha Bean—filmmaker, producer, and CEO of M.V.B Films—as we discuss Black Women in Horror. Together, we explore the challenges, representation, and Moesha’s groundbreaking contributions of in the horror genre, both on-screen and behind the scenes.

Listen on Spotify

Listen on YouTube

About Meosha

Meosha Bean is an American filmmaker. She’s the founder of M.V.B Films, a production company known for its bold, impactful storytelling. With nearly 20 years in the entertainment industry, Meosha has built a career on producing thought-provoking films that push creative boundaries and highlight diverse voices and untold stories.Meosha’s work spans a range of genres, from drama and horror to music videos and documentaries. Her notable film Anatomy of an Anti-Hero, starring Eric Roberts, garnered widespread recognition, earning features in Fangoria Magazine and other respected outlets. Her films have been showcased at top-tier film festivals such as the Los Angeles Film Festival, Europe Film Fear, and TIFF, reflecting her consistent ability to produce work that resonates with both audiences and critics alike.In addition to her film work, Meosha has collaborated with iconic figures in the entertainment industry, including Billy Idol, Chris Brown, Keyshia Cole, Tony Todd, and Jordan Peele. Her diverse portfolio of music videos and film projects demonstrates her versatility and passion for telling stories that transcend genres and explore universal themes.As a producer and filmmaker, Meosha remains committed to creating content that challenges norms, amplifies underrepresented voices, and pushes the boundaries of what cinema can achieve. She continues to innovate and inspire, carving out a place for herself as a leading force in the film industry.

Learn more about Meosha by visiting her website or connect with her on Instagram.

film festival, film screening

PREMIERE SCREENING OF MY RECENT FILMS!

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I am so proud to present the premiere screening of my most recent films, SEEING WITHOUT SIGHT and DOUEN II, alongside bonus screenings of my previous films, SENSES and NEGRO MOUNTAIN. My initial plan was to hold two separate screenings, but what better way to show you an example of the two different genres I work in (documentary and horror) than to have a premiere of my projects together?

Together, these films have been four years in the making. I’m excited for the opportunity to screen it first in my community, the DC Metro Area, before it hits the film festival circuit.

🗓 Date: February 16, 2025

📍 Location: AFI Theatre, 8633 Colesville Rd, Silver Spring, MD 20910

⏰ Time: 6:00pm – 8:00pm EST

🎫Tickets: https://herhousemedia.eventbrite.com

Flyer design for screening of SEEING WITHOUT SIGHT and DOUEN II.

This event will feature:

  • The premiere of SEEING WITHOUT SIGHT, a documentary exploring the experiences of women with vision loss and challenging viewers to see beyond sight.
  • A bonus screening of SENSES, a horror short highlighting sensory experiences.
  • A bonus screening of NEGRO MOUNTAIN, an award-winning short film exploring identity and resilience.
  • The premiere of DOUEN II, a short film inspired by the Trinidad and Tobago folkore.
  • Q&A sessions with yours truly, the cast, and crew.

Event Schedule:

  • Premiere of SEEING WITHOUT SIGHT followed by a Q&A
  • Intermission
  • Screenings of SENSES and NEGRO MOUNTAIN
  • Premiere of DOUEN II followed by a Q&A

The full event schedule and tickets are available on Eventbrite:
Reserve Your Spot Here

Don’t miss this unique opportunity to immerse yourself in powerful stories, meet the creatives behind the films, and connect with a vibrant community of storytellers and art lovers.

Thank you for your support, and I look forward to seeing you there!

PURCHASE TICKETS NOW

Announcement, Campaign, donate, fundraiser, My Journey, Update

DOUEN II Now Has A Fiscal Sponsor!

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Graphic that reads, “Upcoming News! What’s New & Next, HowYou Can Help”. It also has Alyscia Cunningham’s logo in the top circle. The colros are blue gray, orange, and maroon.

I’m excited to announce that DOUEN II is officially fiscally sponsored by Women In Film & Video (WIFV), which means your donations are now tax-deductible! With your support, we can cover current unexpected expenses and essential future expenses that will help bring this unique story to life.

Your contribution will directly support:

  • Production & Gear rental
  • SFX materials & Wardrobe
  • Insurance
  • Accessibility services & Music licenses
  • Post-production
  • Distribution to film festivals

Would you consider making a tax-deductible donation to help us reach our goal?

Your Impact on the Culture

As a thank you for your support, we’re offering the following:

  • $100: Your name or company in the film credits and on IMDb.
  • $500: Your logo in the credits, on IMDb, and on our website.
  • $1,500: Executive Producer credit, plus all the above.

Your contribution not only helps us complete DOUEN II but also plays a key role in sharing diverse and powerful stories in the horror genre. Together, we can ensure this film reaches audiences far and wide.

We’re planning for a community screening at AFI Theatre and Cultural Center in early 2025. I’ll keep you posted with the scheduled date.

Thank you for being a part of this exciting journey!

MAKE A TAX-DEDUCTIBLE DONATION

Writer | Director

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