With her father dying of cancer, Helen has high hopes for the family’s last Easter together.

Inspired by actual events (sort of) . . . We waste too much time seeking perfection. The perfect Easter basket. The perfect holiday celebration. The perfect family portrait. These ‘perfect’ moments are not where true memories are made. It’s those spontaneous, unpredictable moments that hit us like a pie in the face that we forever remember.  CHERRY is the pie in the face. My dear friend watched her father die. There was nothing she could do about it. Even with people in the room - doctors, nurses, family, hospice workers - she still felt completely alone and so did he. But it shouldn't be that isolating. Dying and losing someone you love is part of the human experience. CHERRY attempts to speak to that human experience in a funny, smart and touching way. A man is dying, we’ll take a pie to the face.

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About Us


Stacey Davis (writer/director)

 Stacey is an award-winning screenwriter, director, producer and entertainment lawyer. She’s executive produced over a half-dozen films, including SWORD OF TRUST (SXSW, dir. Lynn Shelton; starring Marc Maron), LITTLE SISTER (SXSW, starring Addison Timlin, Ally Sheedy and Peter Hedges, and named by “The New Yorker” as the best film of 2016); 1985 (SXSW, starring Cory Michael Smith, Virginia Madsen and Michael Chiklis) and SOCIAL ANIMALS (starring Noel Wells, Samira Wiley and Josh Radnor). She has several other projects in development. 


Jen West (producer)

When Jen isn't traveling the country in her converted school bus, she is immersed in creating films based on bold female characters, oftentimes from the Deep South. She is known for writing and directing short indie films like PIECE OF CAKE, CRUSH, BUBBLE, LITTLE CABBAGE, and the St. Paul and the Broken Bones' music video CALL ME. West also produced THE NEW ORLEANS SAZERAC and BOTTOMLESS, which were official selections of the 2016 Emerging Filmmaker Showcase in the American Pavilion as part of the Cannes Film Festival. She is the first filmmaker to have two projects accepted in the same year to the program. West was a Stowe Story Labs 2017 fellow with her feature screenplay ELECTRIC BLEAU, of which was also named a Finalist for the 2018 Park City Table Read My Screenplay competition. ELECTRIC BLEAU is set for production in 2019 with West attached as writer and director.


Virginia Newcomb (producer)

Virginia grew up a shy, peculiar, nascent artist in the small town of Alabaster, Alabama. The location proved challenging, yet motivating, and Virginia found her strength in acting. Carrying that discovery on through higher education, she fled to Los Angeles on a full scholarship to the Lee Strasberg Theatre Institute. Virginia has appeared on shows like THE OFFICE and CSI, alongside such talents as Cillian Murphy and Udo Keir, and established herself in Los Angeles with award winning roles in film and stage. Then, defected. Virginia’s Broadway debut came in Jay Scheib's live cinema production of Chekhov's Platonov, which live streamed to Time Square and BAM. This innovative style of theatre continues to inspire her work, most recently as director of the Cucalorus Festival's commissioned Blue Velvet installation, Bus to Lumberton. In 2015, Virginia returned south to create her first film as producer in which she also stars, THREE FINGERS. The film premiered at the Sidewalk Film Festival where it received the Kathryn Tucker Windham Storytelling Award and went on to play over 15 festivals accruing multiple jury prizes. This began her collaboration with the abundance of emerging talent that resides in the southeast. Much of Virginia’s recent work has been back in Alabama, with lead roles in  THE DEATH OF DICK LONG premiering at Sundance as part of the NEXT program, and Whitney Hamilton's queer civil war epic, UNION. Virginia's role as a filmmaker continues to expand. She’s joined several films as producer, such as Lynn Shelton’s comedy, SWORD OF TRUST, premiering at SXSW ’19, and is developing two Southern Gothic projects that follow other young women who cleverly escape the institutions that bind them. Virginia's work consistently seeks to share bold, evocative stories in risk taking projects that portray women honestly, particularly in nontraditional southern narrative.