In 'Late Fall,' Co-Directors Alecia Orsini Lebeda and Abigail Jean Lucas narrate the experiences of new parents.

      In “Late Fall,” co-directors Alecia Orsini Lebeda and Abigail Jean Lucas depict the challenges faced by new parents who are nearly overwhelmed by stress, fatigue, and their noble intentions.

      The film follows new mother Tina (portrayed by Lucas) and her husband, new father Danny (Kyle Gregory), as they strive to care for their infant son (who is played by Lucas’ real-life child). However, they frequently misinterpret each other’s cues, overlook one another, and unintentionally let each other down.

      At his workplace, Danny catches the eye of his boss' daughter, Sophia (Amanda Kuo), and their connection unexpectedly affects Tina and Danny’s marriage.

      The short film, set in Massachusetts, recently showcased at the Woods Hole Film Festival, one of the state’s premier cinema events. It appears the co-directors share a better understanding than Danny and Tina do in the film. Without much deliberation about their role distribution, they infused the script, primarily penned by Lucas, with their experiences as artists and mothers. Orsini Lebeda is a highly sought-after producer in New England, recognized for her logistical expertise and problem-solving skills, and she valued the opportunity to concentrate on the narrative aspect of filmmaking.

      We reached out to them during the festival to talk about early parenthood, Shakespeare, and collaboration.

      “Late Fall” co-directors Alecia Orsini Lebeda, left, and Abigail Jean Lucas.

      MovieMaker: There aren't many films that focus on very new parents and the initial phases of parenting. What motivated you to create this?

      Alecia Orsini Lebeda: When Abigail invited me to work on this project, it was the parenting theme that caught my interest. As a new mom myself, I was grappling with my identity, which was a daily challenge. I eagerly accepted the opportunity to utilize my skills in filmmaking logistics while also confronting the challenge of directing with my “Parenting Lens.”

      My partner Scott Lebeda and I were in a relationship for 10 years before having our first child. Although having our child was a beautiful experience, it genuinely turned our lives upside down. I felt like this struggle was rarely discussed—losing your old self and partner while trying to accept changes in each other is wild.

      Abigail Jean Lucas: I see a deficiency in honest storytelling about motherhood and fatherhood in our culture. There are numerous cultural narratives surrounding these roles, often painted negatively. I get it; parenting is incredibly difficult. Young people are absorbing the notion that parenting is something to be avoided rather than recognizing it as a complex journey filled with responsibility and self-discovery. The intense challenges can ultimately lead to profound joy.

      I aimed to reflect a bit of that reality. Both parents are trying their best. For young parents, there’s a lack of examples from previous generations regarding what modern parenting looks like as the dynamics evolve. We are figuring things out as we go.

      This leads to miscommunication, along with projecting feelings and assuming the other side is at fault. It was essential for me to portray that neither Tina nor Danny is to blame. They’re both good individuals, and their survival instincts are complicating their ability to see one another clearly.

      That’s why the ending carries significant weight for me. Each character reaches a moment of recognizing the other’s good intentions—not necessarily solving anything, but finally seeing one another. They might make it through, or they might not. However, I hope it alleviates some judgment and invites reflection.

      MovieMaker: Many new parents get lost in their phones as an easy escape. Why did you choose to portray Danny as delving into Shakespeare?

      Alecia Orsini Lebeda: Danny is a deep character—much deeper than others allow him to be or even wish for him to be. Shakespeare is not judging or demanding anything from him; it simply exists, providing both an escape and nourishment for his soul. Perhaps the life answers he seeks lie within those lines.

      Abigail Jean Lucas: I wanted Danny to transcend the stereotype. The film includes class dynamics, and I recognize how working-class men are often portrayed. My goal was to present a working-class man who is deeply intelligent, though that intelligence wasn’t necessarily nurtured by his upbringing, leading him to conceal it.

      This understanding is crucial for grasping Danny's relationship with Tina. He isn’t escaping into Shakespeare; he’s searching for a connection. I thought this nuance was important. While we often discuss social media as an escape, what many actually seek when they retreat into their phones is connection—something that truly "sees" us. Social media can reflect our desires, and Danny is doing the same thing but through something profound and intellectual. Scrolling through social media doesn’t suit him.

      Shakespeare also acts as the bridge between Danny and Sophia, providing an unexpected element that reveals a side of Danny even Tina hasn’t seen. Sophia would likely be familiar with Shakespeare, while Danny wouldn’t typically be