Winter Insect, Summer Flower | Gbenga Komolafe and Tee Jaehyung Park's Film Debuts at Slamdance this Weekend

Debuting at the Slamdance film festival this weekend, Winter Insect, Summer Flower is the collaborative effort of experimental artist and filmmaker, Gbenga Komolafe and Tee Jaehyung Park. Starring Indigo Tolbert, and Pierre Davis of No Sesso—the lushly composed film features no dialogue, establishing a naturalistic, poetic composure. Described as a trans woman’s journey of love, loss, and redemption through the seasons, Winter Insect, Summer Flower uses a circular narrative to explore the ever-evolving body.

We discussed the film, collaborating, and upcoming projects with the filmmakers.

Walk us through the conception of the project? How did you two initially come into contact?

Tee Jaehyung Park: Originally we were paired together for this showcase within an artists’ collective. We were prompted to collaborate on a visual project. We knew each other before, but we both did some thinking about each others’ shared experiences, and started from there. Personally, I wanted to deconstruct the whole narrative of  “body as temple.” It feels reductive. I'm like—my body is a car, a used car. At its most fundamental, I wanted to show bodies in their most raw.

Gbenga Komolafe: It’s really interesting because I've had different relationships to the theme of the film throughout the process. The story really took on a life of its own, and grew as an organic organism. It evolved in a way similar to the relationship I have with my own body. That was what we wanted to  capture. 

What role did community play into the production of the film?

G: It was all about plugging into this sprawling network of like minded people. From the funding to the creative technicalities—it wouldn’t be possible without those personal and artistic connections within our immediate and extended community. 

As artists, what was the creative dynamic between you two like?

T: It was interesting because I'm a writer and director. Narrative fiction and storytelling are what I do, whereas Gbenga gravitates to more visual, experimental work. So this project was about meeting somewhere in the middle. For me—this is my most experimental project to date, and for Gbenga, this is his most narrative-centered film. 

I think the circular structure of the film is really interesting—the literal cyclical patterns of the seasons corresponds so much to our shifting relationships to the body. 

T: Originally, It was intended for this film to play on a loop on a wall in an exhibit. The symbolism of this film going on, for hours and hours. As a trans person, I’m tired of transition narratives that are a stereotypical “point A to point B “ process. Instead of having a final destination, it’s much more fluid. It changes day to day.

What was it like collaborating with such an extensive team?

G:  This is the most collaborative project I've done so far. It was both challenging and exciting. But the professional dynamics between Tee and I helped balance and empower each other's strengths.

The set is so rich, and in some ways a character in itself. How did you make it?

T: Actually, Allis Chang, the art director, flew out from Philly to work on the project. It was very DIY—We were foraging together, gathering branches, flowers and other natural materials. Working with such a limited budget, it was incredible what Allis pulled off. 

G: They absolutely killed. Carrie Sun handled the animation, and provided all the vivid imagery. And we were all working with such a limited budget, but there was such a shared enthusiasm on set.

Any upcoming projects we should be in the loop about?

T: I’m in pre-production for a short I'm writing and directing. We found a producer, and I'm hoping to start shooting this summer. This shit doesn’t stop 

G: I’m currently part of the artist cohort at LA’s Zeal Co-op based in Inglewood. 

Winter Insect, Summer Flower debuts at Slamdance on January 27th, under the “Department of Anarchy” category.