April Mullen decided to shoot Below Her Mouth with an entirely female crew,\u00a0a decision in total support of the female gaze. Below Her Mouth is a sexy, bold\u00a0drama that tells the story of an unexpected romance between two women.<\/p>\n

Jasmine (Natalie Krill) is a successful fashion editor living with her fianc\u00e9, Rile (Sebastian Pigott). On a night out in the city with her best friend, she meets Dallas (Erika Linder), a roofer recently out of a relationship. Jasmine is taken by surprise when Dallas confidently hits on her; she turns Dallas down, but can’t get her out of her head. Dallas continues her cool, self-assured advances. In a matter of days, Jasmine succumbs and the two women embark on a steamy affair. It feels like a fantasy world compared to Jasmine’s life and plans with Rile, but soon reality rears its head, and she will have to face the profound changes their sudden romance has wrought in her.<\/p>\n

Below Her Mouth is a rarity in more than one way: it’s a fiction film shot with an entirely female crew, and it’s an uncommonly frank look at the all-encompassing nature of attraction \u2014 the good, the bad, the ugly, and the transcendendent.<\/p>\n","protected":false},"excerpt":{"rendered":"

April Mullen decided to shoot Below Her Mouth with an entirely female crew,\u00a0a decision in total support of the female gaze. Below Her Mouth is […]<\/p>\n","protected":false},"author":2,"featured_media":1518,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[21],"tags":[],"_links":{"self":[{"href":"https:\/\/berlinfeministfilmweek.com\/wp-json\/wp\/v2\/posts\/1515"}],"collection":[{"href":"https:\/\/berlinfeministfilmweek.com\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/berlinfeministfilmweek.com\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/berlinfeministfilmweek.com\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/berlinfeministfilmweek.com\/wp-json\/wp\/v2\/comments?post=1515"}],"version-history":[{"count":2,"href":"https:\/\/berlinfeministfilmweek.com\/wp-json\/wp\/v2\/posts\/1515\/revisions"}],"predecessor-version":[{"id":1519,"href":"https:\/\/berlinfeministfilmweek.com\/wp-json\/wp\/v2\/posts\/1515\/revisions\/1519"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/berlinfeministfilmweek.com\/wp-json\/wp\/v2\/media\/1518"}],"wp:attachment":[{"href":"https:\/\/berlinfeministfilmweek.com\/wp-json\/wp\/v2\/media?parent=1515"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/berlinfeministfilmweek.com\/wp-json\/wp\/v2\/categories?post=1515"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/berlinfeministfilmweek.com\/wp-json\/wp\/v2\/tags?post=1515"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}