07 Ago An interview with Finise Avery, director of “Living With Grandma”
BIO
Finise Avery is a New York-based filmmaker known for her character-driven storytelling and commitment to social equity in the entertainment industry. A proud member of both the Directors Guild of America (DGA) and SAG-AFTRA, Avery brings a unique blend of creative vision and on-set experience, having worked across directing, producing, assistant directing, and production accounting.
Her directorial debut, Living With Grandma, has earned over 20 festival honors worldwide—including Best Female Director at the Cannes World Film Festival, Best First Time Director at the Los Angeles Film Awards, and multiple top prizes at the Rome International Movie Awards, Oniros Film Awards, and Mindfield Film Festival. The film explores addiction, caregiving, and intergenerational healing with humor and heart, and is now being developed into an episodic series.
Finise is currently in pre-production for her second short film, Desperately Seeking Commitment, a comedy about romantic delusion and self-discovery, and developing Hidden Facades, a psychological thriller examining power and exploitation in elite circles.
Avery also serves as the AD/UPM Elected Category Representative on the DGA’s Focus on Women Committee and is the founder of Reel Solidarity, a nonprofit dedicated to advancing access, representation, and inclusion within film and television production.
“Living with Grandma” tackles complex themes like addiction and recovery with a light touch and authentic humor. What inspired you to approach this story through comedy?
Living with Grandma came together in such a personal and collaborative way. It all started when my childhood friend, Louis Cangiano—who has Tourette’s and was visually impaired at the time—called me with an idea he thought would make a great story. He sent voice notes filled with dialogue inspired by his life, particularly his relationship with his grandmother. What began as a concept for television soon evolved into a short film that I hoped could pave the way for something larger.
I brought in screenwriter Zach Skiles, who helped translate those raw, emotional moments into cinematic scenes. But it wasn’t until I teamed up with Luisa Oparanozie as a co-writer that the project really found its structure. Together, we reshaped the anecdotes into a fictional, emotionally grounded script. We were creating something new, layered with humor,and generational dynamics, .
Comedy felt like the most honest way to approach themes like addiction and recovery. It reflects how people actually navigate the challenging process of addiction—by finding humor in the chaos and love in the mess. This film was about portraying life in all its complexity, with warmth and truth.
Grandma Rose is a standout character. Was she inspired by anyone in particular?
Absolutely. Grandma Rose was inspired by a blend of personal memories and shared stories—particularly my own grandmother, who passed away in October 2024 at the age of 100. She was a strong Irish-American woman, the kind who could say anything with blunt honesty and still make you feel loved. There was a fierce tenderness about her—a quality that defined her generation.
Louis also shared vivid memories of his own grandmother, who carried that same sharp wit and unfiltered warmth. Together, we combined these influences to create a character who felt real, complex, and unforgettable. Grandma Rose embodies a generation that endured so much and yet led with resilience, humor, and heart. We wanted to honor that spirit.
The film centers on the relationship between Louis and his grandmother. How did you work with the two lead actors to bring this to life?
I met Bonnie Rose while working as the 2nd AD on Fleishman Is in Trouble. Her raw talent and presence stood out immediately, and I knew she was perfect for the role even before the script was finalized. Charlie Solis, who plays Louis, and I had worked together during our time as PAs, and I admired both his professionalism and energy.
Their chemistry was natural and grounded. I gave them the space to explore their characters beyond the page and encouraged them to lean into their instincts. That comfort and trust really allowed me to capture those spontaneous moments that make the relationship feel real and lived-in.
As Clint Eastwood once said, “Sometimes if you leave the actors alone, they’ll surprise you with the best performances.” That’s the approach I took—casting actors I trusted and giving them the freedom to bring their full selves to the characters.
You wore many hats on this project. How did that influence the film?
Serving as director, producer, and co-writer gave me the ability to guide Living with Grandma seamlessly from concept to completion. My experience in Assistant Directing and production accounting was instrumental—I was able to balance creative ambition with practical execution.
Working on a limited budget, I knew exactly which scenes we needed to prioritize and where we could be flexible—or, as we say in the industry, “steal the shot.” That awareness allowed me to maximize every dollar without sacrificing vision. It was intense, hands-on, and gratifying. Having full creative control meant the final film truly reflected my vision—and I’d do it all over again in a heartbeat.
I’m currently in pre-production for my next short film, Desperately Seeking Commitment—a quirky, heartfelt comedy about a woman whose desperate pursuit of love leads her into a mediation room after her misguided efforts to “facilitate fate” land her with accusations of stalking. It explores themes of loneliness, romantic delusion, and the pressure to “have it all”—with humor and emotional honesty.
Alongside that, I’m developing Hidden Facades, a psychological thriller that dives into power, control, and abuse within elite circles—examining how image, status, and silence can be weaponized.
Both projects aim to reflect what’s happening in today’s culture: the complexities of modern relationships, the blurred lines between personal and public identity, and the deeper emotional currents that often go unspoken. My goal is to tell stories that feel raw, timely, and deeply human.