Thavary Krouch

Unaffiliated

What was your first professionally directed work and when was it?
My first professionally directed work outside of film school was the short film Bitter Melons. After graduating, life’s demands and the need for a stable career pulled me away from filmmaking. But, following a hard-fought battle with cancer, I felt a strong urge to return to storytelling as a way to process the transformative experiences of those challenging years. Bitter Melons became that outlet. For the first time, I faced the challenge of raising funds to pay a professional crew. Landing a sizable grant from the Chicago Media Production Fund was pivotal, covering a little over half of the budget and allowing me to approach the project with greater resources. Balancing the responsibilities of financing, crew management, and equipment rentals, I experienced the complex realities of independent filmmaking. I couldn’t have done it alone; the support from my community was crucial, with people volunteering their time or working on a sliding scale to help bring Bitter Melons to life. This project became a true testament to resilience and collaboration.

How did you get into directing?
I found my way into directing through a non-traditional path. After earning a B.A. in Anthropology, I spent several years working as a research analyst for a non-profit focused on housing and homelessness. While the work was impactful, I began to feel a growing restlessness, craving a creative outlet that could channel my love for storytelling—a passion I’d nurtured since childhood. This led me to make a bold pivot, applying to Columbia College Chicago’s film program. Film school was an eye-opening, full-circle experience that reignited my love for stories and introduced me to the art and craft of directing. It was there that I realized directing was not only a possibility but a viable career path. Film school taught me that I could shape narratives and bring characters to life in ways I’d only dreamed of as a kid watching TV. This discovery marked the beginning of my journey into directing.

What is your most recent project?
My most recent project is a short film titled Arrangements. Coming out of the pandemic, I was eager to lean into comedy, wanting to bring some lightness and laughter to my work. While whether Arrangements truly qualifies as a comedy might be debatable, I set out to challenge myself by writing and directing a story with comedic influences inspired by the slapstick charm of Lucille Ball and the wit of classic screwball comedies. Drama has always felt natural to me, so I was excited to step into the world of humor and play. Arrangements tells the story of two cousins with a sister-like bond who find themselves growing apart. Life has led them in different directions—one pursuing new opportunities while the other feels left behind. Their differences create tension as they navigate the unspoken pain of evolving in opposite directions. At its core, the film reflects the bittersweet realities of change and how relationships evolve as people’s paths diverge.

What is the best part of being a director?
The best part of being a director is the opportunity to lead and inspire a crew—a privilege and an honor I don’t take lightly. As the director, I set the tone on set each day, guiding a team of talented individuals who bring their unique skills and expertise to the table. There’s a kind of magic and alchemy in filmmaking that emerges when these individual crafts coalesce around a shared vision. As the director, I have the privilege of being the central voice guiding that vision forward. But the role of a director isn’t just about leadership on set; it’s also about being the first audience for the story. I’m constantly thinking about how to tell the story with intention, balancing the nuances of character, pacing, and tone to create an experience that resonates. Bridging the world of the story with the perspective of the audience is a powerful responsibility, and that connection is, for me, the true magic of directing.

What is the worst part of being a director?
The most challenging part of being a director is the constant need to multitask and balance multiple elements at once. Directing requires a unique ability to juggle creative and technical demands—from blocking a scene and aligning visual aesthetics to keeping an editor’s mindset, envisioning how each shot will fit into the larger story. As a director, you’re always thinking several steps ahead, from scene to scene, staying mindful of tone, mood, lighting, and the emotional intent behind each moment. It’s a role that demands an awareness of countless moving parts, all in service of the final vision. Personally, I’m someone who thrives on focusing deeply, getting good at one task before moving to the next. Directing pushes me out of my comfort zone by requiring me to be proficient in multiple areas simultaneously. It’s a challenge that’s both exhilarating and daunting, demanding a high level of attention and adaptability from moment to moment.

What is your current career focus: commercials and branded content, television, movies? Do you plan to specialize in a particular genre–comedy, drama, visual effects, etc.?
My current career focus is writing and directing for television, particularly in the realm of “dramedies” – that blend of comedy and drama that feels true to life yet often defies easy categorization. Shows like The Bear exemplify this unique balance, leaving audiences to wonder, “Is it a comedy, a drama, or both?” This complexity excites me because life itself is rarely just one genre. Growing up in the ’80s and ’90s, I was raised on American TV as much as by my Cambodian parents. From PBS gems like Sesame Street and Reading Rainbow to Disney movies and TGIF lineups, TV was my constant companion, shaping my sense of humor, my understanding of family, and my love of storytelling. Television has always been a powerful medium for me, and focusing on dramedy allows me to explore stories that feel both real and resonant, combining lighthearted moments with emotional depth.

Have you a mentor and if so, who is that person (or persons) and what has been the lesson learned from that mentoring which resonates with you?
None.

Who is your favorite director and why?
My favorite director is Pedro Almodóvar. His films introduced me to foreign cinema, and I was immediately captivated by his bold visual style and his commitment to centering women’s stories. Almodóvar’s work is subversive yet deeply entertaining, blending humor with emotional depth. Studying his films in a Romantic Melodramas course in film school helped me see his influences, from classic melodramas to screwball comedies of the 1930s and 40s, like those of Billy Wilder. His unique mix of aesthetics, storytelling, and playfulness makes his films an ongoing inspiration for me.

What is your favorite movie? Your favorite television/online program? Your favorite commercial or branded content?
One of my favorite movies is Pedro Almodóvar’s Volver. It ticks all the boxes for me—familial and women-centered, a powerful story of reconnecting with a painful past, revenge, and humor, all with Almodóvar’s signature quirks. The film weaves in music beautifully (I cry every time during the scene of Penélope Cruz singing the titular song) and plays with the absurd, like Carmen Maura’s character, who may or may not be a ghost. Currently, my favorite TV program is The Diplomat. I recently binge-watched season 2 on Netflix, and I’m hooked. It’s another women-centered story, exploring the complexities of politics and marriage with nuance and intelligence. The Diplomat is one of the most resonant and captivating shows I’ve seen in recent years.

Tell us about your background (i.e., where did you grow up? Past jobs?)
I was born in Khaoi-dang, a refugee camp along the Thai-Cambodian border, and my family came to the United States seeking political asylum. I grew up in Long Beach, California, though I consider myself a “Midwestern girl” at heart, having spent most of my adult life in Chicago. Chicago became my home and community. After graduating from film school in 2013, I joined Facets Multimedia, Inc., managing their film library and handling educational and public performance licenses (remember those Facets DVD catalogs?). Later, I transitioned to the government sector at the Chicago Film Office, assisting with film permitting and managing programming at the Chicago Cultural Center. Now, I’m with the NYC Film Office, part of the Mayor’s Office of Media and Entertainment, continuing my work in film and media industry support.

Have you had occasion to bring your storytelling/directorial talent to bear in the Metaverse, tapping into the potential of AR, VR, AI, NFTs and/or experiential fare? If so, tell us about that work and what lessons you have taken away from the experience?
Not yet.

Contact

Website: www.thavarykrouch.com

Contact Thavary via email here.