Jessica Dorfman and Jennifer Gilomen
"Just Say It: A Revolution in the Making "

This movie began when it seemed like the world might end. "Just Say It: a Revolution in the Making" tells the story of two novice filmmakers in pursuit of aristic beauty at a time when politics is turning ugly.

 Jennifer Gilomen and Jessica Dorfman, both new in the Bay area, meet each other shortly after September 11th, 2001. While their government responds to the tragedies with increasing offense, they find solace in the creativity they discover in basements, clubs, and streets all around them.
Filmmakers bios:
Jessica Dorfman, an east coast transplant, first got her hands on a camera in a night class at the Boston Film and Video Foundation, and since then, has gone on to shoot and edit several documentaries. Her first gig was as a production assistant for “Ennis’ Gift,” a documentary about learning differences, by Joshua Seftel and Tom Miller. This piece premiered at the Museum of Fine Arts in Boston in 2000, and aired on HBO in 2001.
Jessica’s first solo piece was a 15-minute personal documentary entitled “What Do You Hear In These Sounds?” for which she acted as both videographer and editor. After moving to San Francisco, Jessica became increasingly interested in documenting the events of the local political scene. She acted as co-videographer and co-editor of an editorial piece called “Stop the War,” a compilation of footage taken at an anti-war rally in October 2001, and was a videographer for a half-hour documentary called “Only the People Can Stop the War,” produced by ANSWER.
Jessica is currently working with local documentary maker Tom Shepard. She served as assistant editor for several pieces, including Castro Cowboy, a 10-minute portrait for “Spark,” a weekly PBS arts program, which aired on KQED in July 2004. She also assisted in editing Out of the Closet, Into the Booth: The Gay Vote in America: an eleven-minute documentary for Swell Cinema’s “Voting in America” compilation, which premiered at Yerba Buena Center for the Arts in September 2004.

Jen Gilomen (a.k.a. JenG) is a freak of nature, a documentarian, and a lover of all things visual. Born between ears of corn in the heart of the Midwest, Jennifer grew up in the booming metropolis of Peoria, Illinois. Peoria is famous (er, known) for being the most "normal" city in America. This is why Jennifer had to leave Peoria at the earliest opportunity, to seek a land of fortune in the Bay Area. Of course, there is no such thing, but in film, photography, and fellow Bay Area freaks, Jen has found the fabled abnormalcy about which she dreamed for so many years.
In San Francisco, Jen works as the Communications Manager for the Bay Area Video Coalition, and spends most of her time supporting and proselytizing independent media. Besides dedicating her long nights and weekends to documentary and photography work, Jen roller skates with her skate gang, writes articles for various publications, shoots Super 8 film, and creates web sites for Bay Area nonprofits. Jen’s first documentary, “America Crossing” (2002), explored the fears and hopes of Americans from several states and backgrounds in the first few months after September 11. Shot on an Amtrak train criss-crossing the vast American landscape, “America Crossing” went on to screen at the Chicago International Documentary Film Festival in March 2003, and received a Gold Seal Award in the International Film & Video Competition, England, February 2003.
Jen’s narrative short “Piece de Resistance” premiered at the Film Fatale Five Anniversary celebration in Santa Monica, CA (June 2002), then screened at the Immaginaria film festival in Bologna, Italy in March 2003. It also screened as part of "SproQuets," the Third Annual International Gay and Lesbian Television Film Festival in Auckland, New Zealand, February 2003. Other credits include Production Sound Engineer on “For an Eye” (2001, feature narrative), Postproduction intern, “Every Child is Born a Poet: The Life & Work of Piri Thomas”(1999-2000, feature documentary by Jonathon Robinson), and second camera, “Extra Credit” (2004, 9-minute documentary by Laurie Koh).