Q&A with Filmmakers behind ‘Colored Girl Chronicles’
Nathalie Thomas, Shirelle Ruddock, Kayla Thomas, Kyvon Edwin
Kayla Thomas, Shirelle Ruddock, and Nathalie Thomas met in 2017 and their connection was nothing short of serendipitous. They are the series creators who have been pushing their way through tone-deaf experiences within the entertainment industry. The word "colored" in their show title is an active protest; the history of it was used to DIVIDE, so they are using it to UNITE. They are here to reclaim the very thing meant to separate us by taking back their power and taking ownership over the narrative with their Colored Girl Chronicles.
This Q&A is part of the Bushwick Film Fest Filmmaker Q&A series
Colored Girl Chronicles (2025)
What inspired you to create the webseries, and how did the initial idea come to you?
It is a bit of a unique origin story because it wasn’t just one person with a spark of inspiration—it was three of us coming together. Shirelle, Kayla, and Nathalie first connected back in 2017 after a string of frustrating experiences. We were being typecasted, often in slave narratives—and at the same time, we were watching the rise of people like Issa Rae andRyan Coogler, who were boldly telling stories that centered people who looked like us. Insecure and Black Panther were really affirming—it showed us the power of creating work that reflects our own lives. So, the three of us came together in what felt like a very kismet way, determined to tell the story of Nova, Tati, Jade, and Gloria. We were also deeply interested in what it meant to create together. Film is often made within a pretty hierarchical structure—the director, the writer, the producer, each with their lane. But our theater backgrounds gave us another lens. We wanted to apply theatrical devising methods, building something from the ground up, where collaboration shaped the story & approach. Each of us brought unique experiences and passion to the project. For Kayla, it was watching Sex and the City and feeling both offended and disappointed by the lack of representation in a show so iconic—and so rooted in New York, where she had just moved. For Nathalie, it was wrestling with the realization that you don’t actually need permission to tell your own story. And for Shirelle, who had just come off her assistant directorial debut on Broadway, it was questioning how to collaborate with intention and center the story above all else. All those threads came together and evolved into what became our series: a story about sisterhood, friendship, carving out a living in New York, and most importantly, creating a sanctuary for one another.
How do you want people to feel after they see your film?
We want audiences to feel like the fifth friend in the group—invited into the laughter, the chaos, and the love. This series is a love note to Brooklyn, where even the house itself feels like a character, and the presence of ancestors is woven into the space. We hope viewers find intimacy and connection with each of the women as they navigate their own arcs. These four Black and brown women are complex, flawed, funny, vulnerable—and ultimately relatable. As Maya Angelou said, we are “more alike than unalike,” and we want people to see themselves in these characters, to recognize both the messy parts and the moments of grace. At its heart, the series is about reflection, empathy, and compassion—and the joy of navigating growing pains together.
What was a big challenge you faced while making this film?
Filmmaking is an act of empowerment. It’s a reminder of our agency, our self-determination, and our ability to create something that can guide, affirm, or inspire someone else on their journey. Sometimes it’s about documenting stories that need to be witnessed; other times it’s about sparking joy, laughter, or connection. Either way, film is a product of the forge's creative alliance—it helps us imagine, question, and reimagine where we’re going together. Filmmaking is also inherently communal. It’s about being in a circle with collaborators, honoring the stories being told, and together, weaving a legacy larger than just ourselves. That’s especially powerful because Black and brown women—historically at the forefront of change, evolution, and revolution—haven’t been recognized as the bearers of stories. Filmmaking is a way to reclaim that space and to create from it. You’ll always find us quoting Nicole Kidman at the start of every AMC movie: “Somehow, heartbreak feels good in a place like this.” That’s the power of film—it makes us feel.
What’s your history with the Bushwick Film Festival?
Bushwick Film Festival holds a very special place in our hearts. One of our co-creators and co-executive producers, Nathalie Thomas, worked with the festival a decade ago, helping to get it on its feet. That experience—meeting filmmakers, learning the ins and outs of running a festival—was formative. It gave her the belief and the tools to dream of making films herself. It’s also where she first worked alongside Kayla when she volunteered at BFF. Since 2017, Bushwick has truly been a creative home for Colored Girl Chronicles. We’ve shot proof-of-concept trailers in the neighborhood, literally in front of LOT 45 at what used to be AP Cafe. BFF supported us by letting us host our first readings in their office on Bogart Street.. Year after year, we returned for panels to celebrate our friends who screened here, and we were constantly reminded that we’re part of a larger filmmaking community. Even our writer-editor, filmmaker Anaiis Cisco, came into our orbit through BFF, as did many of the crew members who helped us bring CGC to life. The history runs deep, and the love runs deeper. Having Bushwick Film Fest as a creative home base has been a privilege and a blessing as we’ve navigated everything from the pandemic, finding mentors, crew, and other badass women leaders in the film industry, like Kweighbaye,to learn from while building ourselves and our creative careers and birthing this web series.
What three things do you always have in your refrigerator?
For Shirelle and me, we always have in our fridge: Ginger ale Trader Rosemary Marcona Almonds and Candied Pecans are foods that other stores keep in their cabinet, which we refuse to eat warm. WATER!
This Q&A is part of the Bushwick Film Fest Filmmaker Q&A series