Hey Stage 32 — Jores Philippe Jr. here. Writer, director, and filmmaker based in New York City.
I’m coming from a background in music and producing before transitioning fully into writing and directing. I hold an MFA in Film Production from Feirstein Graduate School of Cinema at Brooklyn College and I produce under my company VANYAN, LLC.
I’m Haitian. That’s not just a detail — it’s the foundation of everything I make. My stories come from that culture, that diaspora, that specific experience of living between two languages and two worlds in New York City.
My short film script The Hands That Beat The Drum just made the Quarterfinals of this competition and I’m honored to be here. The film is about a Haitian family living in NYC trying to navigate through grief and legacy
Currently in pre-production. Summer and fall shoot in New York.
Looking forward to connecting with other filmmakers and writers in this community. If you’re working on something personal and culturally specific — we probably have something to talk about.
Congrats to everyone who placed. See you in the lounge.
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Welcome aboard!
What a beautiful way to describe your work. I can already imagine how moving it must be. Personally and culturally rooted stories always hit different.
I'm looking forward to seeing more from you!
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Lovely to meet you! Well done for reaching the quarter-finals! What was the competition? :)
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Hi Jores Philippe, Jr., welcome to Stage 32! I’m Ashley, Head of Community here on the platform. It’s great to meet you, and congratulations on The Hands That Beat The Drum making the Quarterfinals, that’s a huge accomplishment, especially as you head into pre-production.
I love how clearly your cultural perspective shapes your storytelling. As you continue building and connecting, I’d encourage you to stay active in the Screenwriting Lounge (https://www.stage32.com/lounge/screenwriting) and the Filmmaking Lounge (https://www.stage32.com/lounge/directing). Those are great spaces to share your process, talk about pre-production, and connect with other writers and directors working on personal, culturally grounded stories.
What has been the most important element for you in translating your personal and cultural experiences into something cinematic on the page and on screen?
Hey Ashley Renée Smith , thank you so much for the warm welcome — really appreciate it.
Honestly the most important element for me has been specificity. Not just “a Caribbean family” or “an immigrant story” — but this family. This drum. This subway station. This specific silence between a father and a daughter who love each other but don’t fully see each other yet.
I’m Haitian. I grew up between two languages, two cultures, two versions of myself depending on the room I was in. That tension is something I know in my body. So when I write it, I’m not researching it — I’m just remembering it. And I think audiences feel that difference on screen whether they can name it or not.
The cinematic part comes from trusting that specificity to carry the emotion. I don’t need to explain the culture. I just need to show the drum, show the hands, show the daughter watching her father from a doorway — and let the audience find themselves in it.
Currently deep in pre-production and excited to connect with writers and directors in these lounges. Thanks again Ashley.
Hello Jores Philippe, Jr. If you’re interested in deeper conversations with writers, industry access, and live webcasts, the Writer’s Room can also be a strong resource. There’s a free month available so that you can explore its perks: https://www.stage32.com/writers-room/plans-vip