A First Movie Made with an All- Female Crew. There is a sequence near the end of Band Aid, the Sundance standout that hits theaters Friday, which could function as a sort of manifesto for the film’s writer- director- producer- star Zoe Lister- Jones.

The story of a couple who can’t stop fighting and so, as a sort of Hail Mary, decide to turn their fights into songs, Band Aid eventually finds Lister- Jones’s character, Anna — spoiler alert! In response to her dilemma, Anna puts on a nice dress, does her hair and makeup, and then proceeds to beat the bejeezus out of a room filled with mattresses and pillows. It’s funny, unexpected, and surprisingly poignant, and within it, you can find a concise kernel of what makes Lister- Jones one of our most promising young directors. Lister- Jones made Band Aid with an all- female crew on an all- female set — all- female enough that her husband, fellow director and frequent collaborator Daryl Wein, had to settle for driving by and craning his neck to catch a glimpse; all- female enough that the financiers, a bunch of dudes, were respectfully told from the start they would be barred from visiting (they were cool with it); and all- female enough that Lister- Jones’s co- star Adam Pally was, for a week, the only man in sight. Even if Band Aid had been made by sexless Swiss Roombas, it would still be a remarkable achievement, but the nature of its creation makes it a radical act, a necessary inversion of a lopsided industry.

All of this is to say that when Zoe Lister- Jones whales on bedding, it’s more than just letting off steam. For me, it was about trying to physicalizing pain in a way that felt kind of ridiculous. It wasn’t just going to a boxing class, it was throwing your whole body up against a wall,” Lister- Jones says, laughing. Which I did for so many takes, and I have to say, it was amazing — I think that more women should do it.” We’re drinking iced teas in Kitchen Mouse, a café that Lister- Jones used in the film. Lister- Jones grew up in Brooklyn, the daughter of video artist Ardele Lister and conceptual photographer Bill Jones, which meant she was introduced to challenging, sophisticated art at an early age.

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When she was 1. 0, she and her mom spent Mother’s Day at the Knitting Factory watching the Japanese cult film Tetsuo: The Iron Man; when she was 1. Paris Is Burning; when she was 1. Hanukkah presents included Pixies’ Doolittle and Liz Phair’s Exile in Guyville.

She wasn’t allowed to listen to “Fuck and Run.”) Her mother was an ardent feminist, taking her daughter to protests by the Women’s Action Coalition, and voracious consumer of art, introducing Lister- Jones to filmmakers like Hal Hartley and bands like Pavement. It was at NYU that Lister- Jones’s artistic identity began to take shape.

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She took a sketch- comedy class at the acting school of the Atlantic Theater Company, the group started by David Mamet. Occasionally, the maestro himself would drop by and the gears would grind to a halt, all the students suddenly saddled with the task of having to withstand judgment from the famously caustic writer and director.“You would put up whatever scene you were most recently working on, and he would just destroy the hearts of these young, poor acting students,” Lister- Jones says. He was notoriously direct and sometimes cruel, but I put up a sketch that I had written and he said, ‘Who wrote that?’ And I said, ‘I did.’ And he said, ‘You should write a movie.’ And I was like … Oh! That was the biggest compliment I could’ve ever gotten, especially from this god among men at my acting school.”The experience also provided a forewarning of the sensitive egos — particularly male egos — that existed in the arts. The dude who taught [the class] so idolized David Mamet that I think, when he heard that happen, he did everything he could to bring me down,” Lister- Jones says.

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He’d tell me that I’d never work. It was really awful, but that was the beginning of me writing.”Despite that dude, Lister- Jones’s classmates began asking her to direct their scenes, and in a solo performance class, a visiting instructor suggested she write and perform her own production. That resulted, two years later, in a critically acclaimed one- woman show, Codependence Is a Four- Letter Word, that she wrote after her first bad breakup. From there, Lister- Jones got on the New York actor treadmill, appearing on four separate Law & Order franchises as well as Broadway shows. But she was determined not to move out to Los Angeles until she managed to secure a job — which happened in 2. NBC sitcom Whitney.

In the meantime, a parallel career began to take root. In 2. 00. 9, Lister- Jones and her now- husband, Daryl Wein, co- wrote, co- produced, and starred in the indie Breaking Upwards, based on their own experiences with an open relationship. Watch The Jeffrey Dahmer Files Online Hulu. They made the film for about $1. Their next film together, Lola Versus, starred Greta Gerwig and was released by Fox Searchlight in 2.

Breaking Upwards. Wein directed both, as well as their third collaboration, Consumed. But as her sitcom career took off — she’s since had regular roles on Friends With Better Lives and Life in Pieces, as well as a memorable arc on New Girl — and she and Wein worked writing jobs together, she discovered that something was missing.

At first, she started writing Band Aid as an experiment more than anything else.“I wanted to write something that was pure fun in the process.” Lister- Jones says. And it started with music, because I sat down and was like, ‘What would I have the most fun writing? I love writing music, and I love playing music. What if I started writing songs?’” She co- wrote the ultracatchy tunes with Kyle Forrester, with whom she had collaborated on Breaking Upwards. Part of the film’s plot considers the idea that their little band, the Dirty Dishes, could get a record contract, and it’s a testament to the quality of the music that the notion never feels absurd.

Apart from music, though, Band Aid has a lot on its mind: Specifically, the ways in which straight, cisgendered men and women in long- term romantic relationships gradually and inevitably drive each other crazy. But unlike many films in this genre, which tend to take these differences and conflicts as a matter of course, Lister- Jones keeps asking why. It’s like she’s investigating the history of clichés in relationship- driven movies and trying to uncover the deeper truth behind them: Why does the man end up in his boxers, on the couch, stoned, playing video games?

Why does the woman grow insecure and self- conscious? Why do couples stop having sex? And why do they stay together?“Being raised by a feminist, and being raised watching feminist filmmakers like Chantal Akerman and Agnes Varda, I think I tend to see the world through a lens that has a heightened awareness around gender and gender inequities.

As a viewer, I’m very aware of a lot of films about relationships where, however unconscious it is, the wives are villainized: They’re either the nag or they’re the drip or they’re the finger- wagger,” Lister- Jones says. I would go and talk to my girlfriends about my own marital squabbles, and they’d basically echo the same exact fights happening with their husbands. I started to really think about what is it with men and women cohabitating that creates this dynamic, and why hasn’t it really been unpacked in a way that’s a little more almost scientific. If we could accept that we are distinctly different creatures, would that allow us to be in a relationship with more ease?”And in an industry that constantly and consistently undervalues and underrepresents female talent behind the camera, her decision to make the film with a totally female crew is striking.

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