JANE A short Film

Contact: Natalija Vekic – natalijav72@gmail.com
From 1969 to 1973, Jane helped counsel, educate and refer an estimated 11,000 women helping them find safe abortions at a time when suicides, self-induced and botched abortions were the norm.
Most of the Jane members were not radicals, but ordinary housewives with children, who dealt with unscrupulous doctors and eluded the police to ensure women got the best care possible.

Why Now?

My first job as a filmmaker is to tell a compelling story, but I also want a younger audience to understand the lack of choices women had before Roe v. Wade and the dangers they faced getting an illegal abortion. There was a time when self-induced, botched abortions and suicides were the norm. Sadly, this history does not reside in the long forgotten past. Over the past decade there’s been an unprecedented attack on women’s reproductive rights –– Shutting down clinics, the constant threat of defunding Planned Parenthood and “abortion bans” make it impossible for women to access safe and affordable abortions. The laws are punitive, cruel and disproportionally hurt poor women with few resources and no political power.

This is why the story of Jane is as relevant today as it was in 1969. While in some ways Jane is a cautionary tale, I’m inspired by Jane members––many of them ordinary students and housewives with children, who challenged a system that put women’s lives at risk. By creating a visceral narrative with authentic female voices, I hope to galvanize audiences, spark debate, and encourage young women to fight back.


Jane is a short narrative film set in the era before Roe v. Wade. Teresa, a college student and Josie, a housewife with kids, are part of an underground group, who break the law to help women access safe abortions. When their trusted doctor doesn't show up, will they be forced to turn women in need away?

Jane broke the law to save women's lives.


"People who say that don't know anything about your life. You have to do what's right for you and your family." Teresa

Mishel Prada as Teresa.

TERESA is the sheltered daughter of working class Puerto Rican and Mexican immigrants parents. By working alongside the Janes, everything she knew about the world and what was expected of her is thrown into question. Seeing first-hand the fear and desperation of the women she counsels, propels her to take this radical step. Teresa perfectly embodies the spirit of rebellion and innocence of the time.


"We have to do this ourselves. There's no one else to do it." Josie

Mekenna Melvin as Josie.

JOSIE has the charisma and zeal of an evangelist. She's felt the humiliation and lack of control women have over their bodies and lives. She's determined to change this for every woman who comes to Jane and for the group. Edgy, committed, and driven –– Josie pushes the group to stop relying on Mark, their doctor, and learn to do abortions themselves. She is a surrogate teacher, mentor and friend to Teresa and helps her awaken to her own freedom and agency.


"I can't seem to make it right in my mind. No matter what I decide the baby won't live." Verna

Leah Monnette as Verna.

VERNA exudes a quiet strength and power. In her forties, she finds herself unexpectedly pregnant. Verna must make the right decision for herself and her family, but given her limited options–– it’s a terrifying prospect. Emotionally and morally conflicted, Verna must work through her own feelings, while also figuring out if she can trust the Janes.


"Then we shut down for the weekend. Have them come back." Carmen

Tyra Colar as Carmen.

From her French manicure to her Bloomindales outfit, CARMEN resembles a socialite not a radical. She offers a sobering dose of reality to Josie and Teresa about their plans. Carmen’s not one to join marches, but she’s committed to the cause and wants to help women directly.


"Am I gonna be arrested? I can't go to jail. My family will disown me." Rosario

Jonetta Kaiser as Rosario.

Rosario’s young and wears her emotions on her sleeve. Pregnant and scared, she finds herself in the Jane waiting room terrified, on her own and with nowhere else to go.



Natalija Vekic is a screenwriter and director. She won a Golden Gate Award at the San Francisco International Film Festival for her short film Lost & Found, and was the recipient of a Princess Grace Award in film. She was invited to participate in the Film Independent Screenwriting Lab, selected as an honoree in the WGAW Feature Access Diversity Project and was a top ten finalist in the Page International Screenwriting Awards with her feature screenplay Jane. Natalija is a graduate of the UCLA MFA screenwriting program. Her recent directing work includes a short documentary about Academy Award-nominated filmmaker Sam Green and a portrait of illustrator and designer Shyama Golden. She received a "Special Project Grant" from the Princess Grace Foundation to write and direct the short, narrative Jane. The film stars Mishel Prada (Vida/ Riverdale), Mekenna Melvin (Chuck) and Tyra Colar (Twenties/ Cougartown). Jane is based on Natalija's feature screenplay about a real group of women who ran an underground abortion service in the era before Roe v. Wade. The film recently premiered at the Newport Beach Film Festival.

Natalija is Bosnian and Serbian and immigrated to Chicago when she was a pint sized six-year old. She’s convinced that not being able to speak English didn’t just ostracize her from her classmates, but taught her to be a keen observer and sparked her love of storytelling. Dreaming up stories was a way to regain her voice and make sense of her new home. Her experience as an immigrant, growing up with a single mom profoundly influences the stories she writes. Natalija writes and directs gritty, suspenseful dramas from the perspective of immigrants, outsiders and women who boldly shape history, but are often forgotten. She loves to tackle complex women characters.


Reena Dutt is a member of the Lincoln Center Directors’ Lab (New York City), Directors Lab West (Los Angeles), and an experienced producer. She is a past producing fellow at the San Francisco Film Society/Kenneth Rainin Foundation, Project Involve at Film Independent, and Trans Atlantic Partners with the Erich Pommer Institut.

As a producer, her credits include Sundance 2018’s Akicita: The Battle Of Standing Rock (LP, 2018), John Legend’s Penthouse Floor (over 10M views on Youtube), and a PSA in support of the #MeToo campaign (As seen on Huffpost, NowThis, and USA Today coming soon). Her other films have been seen at over 75 film festivals internationally including Outfest, Frameline, NBCUniversal Shorts Film Festival, Whistler, HBO’s SAIFF, and Los Angeles Film Festival. Dutt most recently directed, Too Many Bodies, a music and dance video about gun reform, which was picked up by Alyssa Milano’s company, NoRAnow.org and Executive Produced by Penelope Wong.


Mishel Prada as Teresa.

Mishel Prada (Teresa) is best known for her role as Emma on Starz’s critically-acclaimed series Vida, which recently won a GLAAD Media Award for Outstanding Comedy Series. She was a featured character on AMC’s web-series Fear the Walking Dead. Mishel’s other credits include indie films The Two Dogs, Tell Me How I Die, and There Is a New World Somewhere.


Mekanna Melvin as Josie.

Mekenna Melvin (Josie) is best known for the role of Alex McHugh on NBC’s Chuck. She has also appeared in numerous television shows including her first role on Fox’s Lie to Me alongside Tim Roth a well as ABC’s Once Upon a Time, CBS’s Vegas, ABC’s Castle, ABC’s Grey’s Anatomy, and CBS’s CSI. To name a few. She can also be seen in films like The Bad Guys, which premiered at the Austin Film Festival. Mekenna co-created and starred in Amber Lake, an independent film directed by Joe Robert Cole. Most recently she co-wrote, produced and co-starred in the short film Stuck. She is currently working on a new short narrative that she wrote and plans to direct.


Tyra Colar as Carmen.

Tyra Colar (Carmen) Born and raised in San Jose, Tyra has been working in entertainment since she was a teen. After relocating to New York City, Tyra began making regular appearances on the CBS soap opera, Guiding Light and booked several guest appearances on the ABC soap opera, One Life To Live. In addition, she made her film debut as the lead in the Showtime film, The Choices We Make. Following the cancellation of Guiding Light, Tyra moved to Los Angeles and immediately began working, appearing in The Mentalist, Cougar Town, and as Jane Fairfax in the Emmy award-winning show, Emma Approved. Additionally, Tyra booked roles in Haunted Hathaway's, Karma's A B*tch, Me, Myself & I, and in the feature films: And They’re Off, 8 Slices, and Super Cool. Tyra currently splits her time between Los Angeles and Atlanta. You can see Tyra in the new Verizon, Geico, and Choice Hotels national commercials and on ABC's 'Alex, Inc'.


Leah Monnette as Verna.

Leah Monnette was born in Nurnberg, Germany and at the age of 11 landed her first acting role in the play version of Swan Lake. All she wanted was to play a swan in the background but she ended up playing the lead role of Clara. As a “military brat,” she learned at an early age to be adaptable, having moved several times early in her life. Once her family settled in Kentucky, she pursued an education in business and finance and then migrated to Los Angeles, California. Believing that it’s never too late to pursue ones dreams and goals, she dipped her toes into formal acting training at Playhouse West in North Hollywood and honed her skills under the tutelage of Aaron Speiser and Shannon Sturges at the Speiser / Sturges Acting Studio. She can be seen in the timely, short film Jane directed by Natalija Vekic. She has also worked behind the scenes in All Part of the Game: Part 1 and Part 2 directed by Brandon Thomas; and You, Only Better directed by April Shih.


Jonetta Kaiser as Rosario.

Actor: Jonetta Kaiser (Rosario) grew up in a conservative Christian community in southeast Louisiana. She's grateful to her mother and grandmother for raising her to have an open mind and love people unconditionally. This has shaped her as human being and informs her work as an actor. Even as a little girl she knew she wanted to act and now that she's working professionally, it’s more rewarding than she could have ever imagined. Acting and collaborating with filmmakers makes her feel alive. Jonetta is especially drawn to underrepresented characters and stories that haven’t been told. Jonetta can be seen in the Snapchat series Two Sides, she’s the lead in the web series College Girls that will air on Facebook Watch and was featured in The Lonely Island’s most recent work on Netflix, The Unauthorized Bash Brothers.


Christian Bruno is an award-winning filmmaker and cinematographer. Pie Fight ‘69 (co-directed with Sam Green) won top prizes at Sundance, Chicago Underground, and Black Maria Film Festivals. Ed & Pauline (co-directed with Natalija Vekic) about film critic Pauline Kael’s early years, premiered at Telluride in 2015. His cinematography can be seen in several acclaimed films, including Brian Davis’ hit feature documentary, The Million Dollar Duck. Visions Not Previously Seen about the life and work of groundbreaking designer Barbara Stauffacher Solomon, was recently nominated for 2 Webby Awards. He is currently shooting and co-producing Chris Russo’s feature-length portrait of 6 women navigating the world of legal cannabis, entitled Lady Buds. Christian has been awarded grants from California Council for the Humanities, San Francisco Foundation, The Pacific Pioneer Fund, Film Independent/HBO Documentary Fellowship, and has been in residence at The MacDowell Colony.


Puppett is a seasoned director and editor. Her work has screened in over 60 festivals, including Slamdance, Inside Out Toronto, Outfest Los Angeles, and Sedona International. While primarily a narrative film editor, Puppett recently edited Seed&Spark's first original content: a stand-up comedy special and accompanying short documentary episodes. Additionally, Puppett recently produced and edited Too Many Bodies, a music video dealing with gun violence in America. Inspired by the Golden Globes errors of 2019, she edited a parody trailer for Hidden Fences, which was viewed over 3k times in its first 24 hours online. As a director, Puppett has premiered work at Slamdance, Outfest, and Inside Out. She has a short film in post-production and is developing several scripts.


Award-winning composer Carla Patullo, also known as White Widow, has created rich and diverse soundscapes for film and television productions that have won awards including a Daytime Emmy, a BAFTA, an Independent Spirit Award, and the GLAAD Media Award. Skywalker Sound and the Sundance Institute selected Carla as a Composer Fellow for the 2018 Sundance Film Music and Sound Design Lab, during which she developed her haunting and vocally-driven score to Keola Racela’s horror comedy “Porno” which premiered this year at SXSW. According to Variety Magazine, “Carla Patullo’s score is a nicely poker-faced channeling of fantasy-action soundtrack tropes from a generation ago.”

She is currently working on three documentary features: “Shadowmaker,” about animation pioneer Lotte Reiniger; “Canta di Liberta,” about the renowned Italian singer Milva; and Gregorio Davila’s LGBTA doc “LA: A Queer History.” With a sound that ranges from raw industrial to lush orchestral, Carla’s other credits include HBO’s My Name is Maria De Jesus, the award-winning Sundance selection Spa Night, and the Outfest selections “Letter to Anita,” “Jeanne Cordova,” and the animated horror film Pizza Face (Comic-Con 2017).


Jennifer Kushner serves as the Director of Artist Development at Film Independent and oversees all Artist Development programs, which support over 100 filmmakers annually through professional mentorship, labs and grants. The programs include Global Media Makers, the Film Independent Labs for directors, producers, film and television writers and documentary filmmakers; the Fast Track film finance market at the LA Film Festival; Film Independent Project Involve, a program dedicated to mentoring visual storytellers from underrepresented communities and working toward an inclusive industry; and a Grants and Awards program which gives over $850K in cash and services to filmmakers every year.

Past films she has helped develop with Film Independent include Afternoon Delight, C.O.G., Imperial Dreams, LUV, Mosquita y Mari, Nancy, Natural Selection, Songs My Brothers Taught Me, Tallulah, Spa Night, and the documentaries Call Me Kuchu, Kusama-Infinity, Minding the Gap, Rich Hill, Sunshine Superman and United Skates.


April Barett began her career in branded entertainment for Oprah Winfrey's OWN. In 2011, she transitioned into scripted television production and she’s worked as a production coordinator and production manager on television series that include–– Counterpart, Baskets, Dice, Love, Silicon Valley, True Blood, and The Comeback. She currently works as a Production Executive at Endeavor Content, a joint venture between William Morris Agency, IMG, and Endeavor. As much she enjoys working on large-scale productions, she’s excited to be collaborating with Natalija on her creative vision in the more independent world of filmmaking.


The Crew –– Final Day


As a director, I’m influenced by the intimate, gritty and beautifully composed aesthetic of Lynne Ramsay’s Ratcatcher and Claire Denis’ films. I want the audience to go on this emotional journey with Teresa and Josie. I envision an observational camera style to capture the intensity and intimacy of counseling women and assisting with the abortions. I will focus on small gestures and close-ups during the counseling session. I want the audience to feel the fear and tensions the Janes face as they go about their work, knowing the police could arrive at any moment.

The use of silhouettes, contrast between light and dark.

BLINDFOLDS were used to protect the doctors' identity. They're a recurring motif, a reminder of the lack of power women had and the terrifying aspect of getting an abortion –– being in the dark and putting your trust and life in a stranger's hands.


We’re passionate about bringing this female-directed and female-led story to the screen. We raised half the production budget for the Jane short film through a Princess Grace Foundation Special Project Grant ($20,000) and the other half through a successful Kickstarter campaign ($22,500). We had a talented group of actors and a largely women powered crew come together to shoot this beautiful film. And made a conscious effort to pay our cast and crew, instead of deferring. Since the film is set in 1969, the look of the film needs to capture the time period. We worked with an experienced costume designer, production designer and found locations to help create this world. With our limited budget this was a challenge, but we did it! We also spent every dime of the budget we raised on making the film.

We are approaching private donors, pro-choice organizations and applying for grants to raise the $25, 000.00 needed to complete the film. The budget will be used toward paying key post-production crew –– the editor, sound designer, sound mixer, composer/music licensing, title designer, special effects, colorist and creating a final DCP for distribution and for on-line. We have an amazing team of advisors and collaborators, but we need a community around us to support this film financially. With your help, we can get this project out in the world to be seen, discussed and encourage women and their supporters to take action in the face of some of the most virulent attacks on abortion rights we’ve seen in the last twenty years.


"So I think part of it was control. But I think you have to bear in mind that for all of us, there was this sense of empowerment. What this guy is doing is not very hard. I could do that. He doesn’t have any more background in this than I do. Except, he’s done it a bunch of times. If I can make him show me how to do it, then I can do it. And insofar as I can do it, I can make it more accessible." Jane member

The women met to set up counseling sessions, arrange doctors and discuss which doctors were worth working with and ones they did not trust. Later, when Jane was running an underground abortion service, they would arrange the "front," a waiting room, and a revolving set of borrowed apartments called the "place" where abortions happened.


"As word got out who we were, our population changed. And more and more, people were coming through who couldn’t afford to pay us. One of the things we did was we established a sort of a sliding scale because that way we could accommodate poor women who had fewer resources than white, middle class women. " Jane member

Calling Women Back

Getting basic medical information, arranging counseling sessions, and scheduling abortions was all done over the phone. Women were terrified and desperate to get help.

COUNSELING & Friendships

"I used to set meetings up about 7:30 or 8:00. Cause by then my kids would be asleep. Or most would be up in their rooms finishing their stuff for the night. So they’d ring my doorbell. They’d come in. And initially I counseled people one at a time. And a counseling session consisted of asking them what their situation was. Was this a choice they really wanted to make. You know, you really didn’t wanna push anyone into this. It’s too hard a business. And kind of explain what the day would be like. And then what the procedure would be like. And then what the aftermath would be like." Jane member

Women cried and comforted each other during counseling sessions. The Janes also developed close friendships .


"Well, let’s say you’re the person who’s assisting. You go to the apartment that’s being used. You set up the bed in an appropriate way. Which means putting on sheets, and plastic sheets. There’s also another room which you have to set up, so people are comfortable. And then when the first people come, there’s time to do a little group stuff. Talk about what’s going to happen. It was a matter of sitting by somebody’s bed and holding their hand and talking to them about what was going on. Now you’ll feel a pinprick here. That’s your cervix . Now you’ll feel... Now the dilation will happen. Now this’ll happen and that will happen.” Jane member
Our Bodies Ourselves Collective, who authored the first "Our Bodies, Ourselves," printed on stapled newsprint.
Created By
Natalija Vekic