A Story of Ambition and Resilience

By Valerie Milano

Twenty-Nine Palms, CA (The Hollywood Times) 9/26/25 – As media partners with the 29 Queer Film Festival, The Hollywood Times had the privilege of experiencing one of the most powerful short films of the program: Grace, written, directed, produced, and starring the incomparable Alexandra Grey. Screened on September 21st alongside the feature Ponyboi, Grey’s film emerged as a standout not only for its bold artistry but also for its heartfelt authenticity.

Set in 1980s Los Angeles, Grace tells the story of Grace Gordon, a resilient Black trans singer whose dream is nothing short of music superstardom. Grey explained to me on the pink carpet at the festival, “Grace is about a Black trans woman living in the 1980s in Los Angeles. She is determined to impress a record executive at a local nightclub, Gazzarri’s, which was a real nightclub on the strip. I really wanted as much culture and authenticity as possible.”

That authenticity is palpable. The film’s wardrobe and set design transport viewers straight into the neon-lit era of Whitney Houston and Tina Turner. Remarkably, Grey and her team pulled off what looks like a $40,000 production on a budget of under $5,000. “Everybody tells you when you’re making an independent film to steer clear of a period piece,” Grey admitted. “But with the help of my costume designer, Maggie Whitaker, we made it happen with authentic vintage pieces.”

For Grey, Grace was always about more than spectacle. “I love telling strong Black trans stories. I wanted to challenge stereotypes and show something fun, vibrant, and different. At the end of the day, I just want people to walk away with a little bit more humanity for people who are different than them.”

Her emotional investment in the project was clear. After the screening, Grey confessed, “I don’t know why I was so emotional. Maybe it’s the community, maybe it’s the hormones, but I was crying so hard watching it again. I just really care about our stories and trans people.”

Wearing multiple hats on set was one of Grey’s biggest hurdles. “The toughest part was directing and starring at the same time. I couldn’t always check the monitors to see if we had the right shot, so I had to rely heavily on my team. That was difficult, but it was also beautiful to see how many people came together for this project.”

That dedication paid off, especially in the film’s climactic performance scene, which Grey revealed took 20 takes to get right. “I wanted it to feel big, like you were really transported into a live performance,” she said.

Another standout element of Grace is its casting. Jazzmun, a legendary trans actress often relegated to stereotypical roles in earlier Hollywood projects, plays Grace’s mother. Grey spoke passionately about this choice: “I wanted to give her a role of dignity and depth, instead of the hospital beds and hooker stereotypes she was always cast in. She’s one of the reasons I’m here today, and she graciously agreed to be part of this film.”

Though Grace is just 16 minutes long after its final cut, its impact lingers. Friends who saw early cuts asked where the rest of the movie was, a testament to how immersive Grey’s storytelling is. She’s already moving forward, shifting gears to direct her first horror feature. “I start pre-production in two weeks. This time, I’m not starring, I want to focus fully on directing.”

But her broader dream remains rooted in queer storytelling. “Hollywood likes our stories; you see a trans story at the Oscars every other year, but they’re usually not made by us. My hope is that queer artists will keep making compelling projects that prove there’s a real market for our voices.”

Grace is more than a short film. It is a declaration of presence, resilience, and artistry. It reimagines the past while speaking urgently to the present, insisting on the humanity of trans women and the richness of their dreams.

As Alexandra Grey told me with a smile, “We’re just like everybody else. We have dreams, too.”