“Allred is daring Portland directors to think bigger, grander, and zanier." - bennet Campbell Ferguson - Journalist
writer, director, producer, cinematographer, editor, reality-architect
“I immediately recognized her as a compelling and original talent, someone whose work should be supported in every way. Her broad perspective on human nature is vividly evident in this script, as is her remarkable openness of heart. She takes the ordinary, blends the known and unknown, yet provides no easy explanations. Her gift is to love it all passionately and compassionately.” - Ellen Parks, Casting Director/Professor at NYU Tisch & Columbia University
Welcome to my personal artist’s website, where I get weirder and wilder.
My production company site can be found here: Allred Films.
What is art if not a vehicle for liberation? To make art is to stretch into the far reaches of imagination, to pierce the veil of hidden desires, to embrace truths that even the bravest among us fear exposing.
Process-Oriented Filmmaking: Art and Reality Interwoven
While my primary medium is film—as a screenwriter, director, producer, cinematographer, and editor—I’d argue that my true medium is reality itself. Art is not a product but a process, a constant unfolding, where perception is the primary tool. Through our interaction with what appears to be the “outer” world, we architect the reality around us. I explore this deeper in my essay The Metaverse vs. the Holographic Universe—a topic that lies at the heart of my artistic curiosity.
This philosophy led me to develop a unique style of filmmaking, which I used in my first feature film and later in my short film Sacred Fool. I call it process-oriented filmmaking. It’s not just improvisation; it’s a method where the process of making a film—and the real-world events that unfold during its creation—become integral to the story itself.
Art informs reality, and reality informs art. The two begin to blur.
the watcher’s game - Feature film in development
The Watcher’s Game is a feature film that blends science fiction, mysticism, and cinema verité into a vibrant, immersive story about consciousness, perception, and creation. Filmed between Sayulita, Mexico and Chicago, the story follows Elijah, a young man who plays an augmented reality game so intense it begins to alter his perception of the world, and thereby alters reality itself. After “winning” the game, he awakens in a new timeline with no memory of who he is—only fragments that lead him deeper into questions of identity, illusion, and creation.
The film will be shot in a hybrid style that combines lush, intimate cinematography with spontaneous, vérité-inspired moments. It will be colorful, vibrant, and alive—evoking both the sensory richness of the physical world and the shifting nature of perception. I will use layered sound design, dreamlike pacing, and visual reframing to immerse viewers in the character’s inner state as much as the outer world. It will be taut with suspense and tension as Elijah navigates this new timeline, but will also include quiet, meditative reprieves where cinema itself becomes a mirror of perception—where images, sounds, and story slow down to invite contemplation.
The film will be made using my process-oriented filmmaking method, in which real-life events and improvisation become part of the narrative itself. While there is a strong narrative structure and clear story arc, some of the characters, locations, and scenes will emerge organically through the filmmaking process. In this way, the content and the process mirror each other: the film is about reality as a malleable simulation, and it will be created in a way that reflects that philosophy. This method requires deep trust, nimble collaboration, and a small, flexible crew able to respond intuitively to unfolding events.
This filmmaking method is one I’ve developed and refined over time, first with my debut feature film and later in my short, Sacred Fool. In both, I worked with actors whose emotional truths and lived experiences became entangled with the narrative—but just as crucial were the events that unfolded around us in real time. Unplanned interactions, environmental shifts, and spontaneous moments on set often wove themselves into the film’s fabric. This process demands deep presence and vulnerability from both cast and crew. It opens a space for cinematic alchemy, where fiction and life intermingle and the unexpected becomes essential.
The audience’s experience will be one of immersion—emotionally, psychologically, and sensorially. Rather than being handed answers, viewers are invited into a layered, liminal experience where reality bends and questions deepen. The tone will shift between grounded realism and the surreal logic of dreams. As reality fractures and reforms, the viewer is invited into a participatory gaze—one where watching becomes a generative act and they become attuned to the flickering edge where perception gives birth to reality.