With her directorial debut, Where The Children Go To Play, filmmaker Jada George invites audiences into a dystopian world where artificial intelligence decides who is worthy of survival.
The 15-minute short is already earning festival acclaim, and it combines psychological tension, striking visual design, and emotional storytelling to question what it truly means to be human in an age of technological dominance.
The Knockturnal caught up with George to discuss her creative process, the film’s timely themes of power and identity, and how her background in visual arts shaped her cinematic vision. From exploring humanity’s uneasy relationship with AI to redefining what storytelling looks like in a post-digital era, George proves that her debut is only the beginning of a bold new voice in filmmaking.
The Knockturnal: Where The Children Go To Play explores a dystopian system that measures worth through psychological tests. What first inspired you to tell this story, and how did this idea come about?
Jada George: My producers, Alex Benton and Joshua Montrel, shared the script with me back in 2020 when the world was shut down due to the pandemic. It immediately reminded me of the stories told in the Netflix hit series Black Mirror, and I knew that it was something that could be a vehicle for conversations surrounding the world that we live in today. From politics and power to the economy and evolution of technology, this story was something that didn’t seem as disconnected as you would think when talking about a dystopian world. That is what really drew me to it. We held on to the story for 4 years before picking it back up and getting the cameras rolling, and by then, we’ve entered the world of AI, which I like to believe presented the missing piece that was needed to really complete this story. My decision to identify the proctors of this story as AI androids brought a relevancy to the story that wouldn’t have existed if we rushed the process and went through with our original shooting schedule back in 2020. The use of psychological tests gave this story the eeriness it needed to effectively spark conversations about justice, freedom, and survival. It makes the audience uneasy as it forces us to reflect on the direction humanity is headed, as we are in a race against the technology that seems to be getting ahead of us.
The Knockturnal: The film is set in a sterile, near-future world ruled by synthetic proctors. How did you approach building that visual and emotional world while keeping it grounded in reality?
Jada George: This was my first time directing a story set in the world of sci-fi, and because of that, I knew I wanted to go all out. I did research and explored the many elements of storytelling that drive thrillers and horror films, which in this case was the use of sound and set design. It became a character of itself. Where The Children Go To Play is a 15-minute short film with minimal characters and locations, so I needed to make sure the audience stayed engaged throughout the entirety of the film. The best way I could do that was by make it as unsettling as possible. The location that we found is all white, which adds to the coldness of our story. It presents a place that goes against anything you would naturally see children playing. The tables are steel and the lights are so bright that you can hear the ringing. It’s sad to look on it own, before even introducing the dialogue that then carries us deeper into this sterile world. Watching our characters experience a traumatic and brutal assessment presented by the synthetic proctors then encourages our viewers to feel sympathy towards the candidates. It made it easier to highlight the emotions of our characters in ways that reach the audience. As you watch the film, you will begin to mirror Sevyn and Solana’s emotions, further proving the point of why the proctors feel they are superior to humans. They don’t have the capacity to connect with humans the way we do. They are heartless.
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The Knockturnal: You’ve said this film reflects your fascination with systems that “determine worth,” from politics to education. What real-world parallels do you hope audiences recognize when watching the film?
Jada George: Some of the questions that the characters face are direct examples of topics we are dealing with today. It forces the audience to stop and think, “How would I answer this?”. Where The Children Go To Play directly speaks to reproductive rights being at risk. In the story, reproduction is controlled by AI. They get to decide who has the right to contribute to the new human race, and that is determined by their personal history as it relates to morals and values they’ve been living by. This story also sheds light on systemic oppression and unfair treatment, which have been built into the rules, systems, and institutions of society. As the synthetic entities administer the test, this doesn’t only affect one person, but it affects the entire human race because it’s the new way of life, literally. A major takeaway and conversation starter focuses on how technology that’s meant to help us can end up controlling us, and what life could look like if we continue to put control and power in the wrong hands.
The Knockturnal: The film explores identity, morality, and power through a futuristic lens. How did you balance storytelling and social commentary without one overpowering the other?
Jada George: All of these ideas go hand in hand with one influencing the other. The bad guys in this story are the synthetic entities whose main priority is to remind the candidates (humans) that they are superior to them. They are the ones who have the power to govern the new society, which means they get to decide who is worthy, whether the candidate has a squeaky-clean record or not. The social commentary aspect of this story was already written in the dialogue, so it really became a game of how far do we want to push the intensity levels of our proctor’s behaviors. To be frank, based on the documents that were submitted by the candidates at the very beginning, I like to believe the proctors already knew that Sevyn and Solana were going to pass the test. The storytelling came into play as I began to figure out how long they would drag the assessment to a point of trauma. It’s the mannerisms and cadence of the proctors that feed into the storytelling of it all. They present themselves as perfect compared to the humans they are governing. They pick on every detail as it relates to a person’s morality, identity, and upbringing, judging them based on what they choose to agree or disagree with at any moment. The punch here, though, is that we will never know what the proctors are basing their opinions and morals on; we just know that they have the final say. One of my favorite examples of how the storytelling helped to marry the social commentary resides in the moments our proctors glitch at word “human”, “humanity”, or “error”. This is a direct reminder that even though the proctors claim to be perfect, they will always be flawed in the sense that they are human-made. Nothing can ever be perfect.
The Knockturnal: As your directorial debut, what was the biggest creative challenge you faced during production, and how did it shape you as a filmmaker?
Jada George: Prioritizing time, money, and focus was my biggest challenge. How I show up to set affects how my cast and crew will show up to set, and this is something that is determined long before the cameras start rolling. I spent long nights scrolling through websites like Shot Deck to fully visualize the story in my head with the hopes of making execution easier. I met with each actor and crew member to ensure everyone understood my vision fully, leaving no questions unanswered. Every second counts when you are on set, and the goal of a director is to “make the day,” which will keep the producers happy. I’ve had the privilege of shadowing directors and peeking in on various prep styles, which has helped me to identify the things that I personally feel is needed on my end as it relates to preparation. I’ve fallen in love with the process because it’s a simple equation of the more work you do in prep, the less work you will have to do on set. It allows for you to have a sense of confidence, which reflects the set environment and encourages collaboration. For every situation that goes wrong, a new opportunity for collaboration and problem-solving is presented, and to me, that is what filmmaking is all about. That is the magic of storytelling on a level that feels limitless.
The Knockturnal: The film’s use of sound design, spatial tension, and movement plays a major role in building suspense. Can you share how you collaborated with your team to bring that sensory experience to life?
Jada George: Working with our composer was one of my favorite parts of this project. Dominic Frederick is an incredible artist with an ear for storytelling. I knew that the sound was a crucial part of this story as it influences the emotion we want our audience to feel, so this was a beat-by-beat process. Once we finalized the timeline of our shots as the story that is being told, we broke each scene down using one word. This one word then became the basis of what we were looking for from Dominic as he constructed the sound of a scene. For example, in the opening scene, as the candidates sit in the waiting room, the word I gave was “Anticipation”. This scene briefly enlightens us about the world we are entering, but it’s still pretty vague. I knew the questions of “Where are they?” and “What are they waiting for?” was going to be something our viewers wondered. The sound behind it fuels the anticipation of this that almost feels urgent. It sets the tone for the unsettling nature of the film. Along with scene-based emotion that was encouraged through sound, we also had to identify the sounds of our characters. With the proctors being AI or synthetic entities, I wanted it to sound like a high-pitched static, similar to what you would hear if a signal were to get lost. Sevyn had a warmer tone that reflected his vulnerability, while Solana had a firm sound to emphasize the walls she’s built around her emotions. The more we included, the more inspired we were, which ultimately led to Dominic creating a score that told a story of its own from beginning, middle, to end.
The Knockturnal: Coming from a background in photography and visual arts, how did that foundation influence your directorial eye and approach to framing this story?
Jada George: My background in photography has helped me better understand how to tell a story with a single frame. It allows for me to have an eye for composition, mood, and symbolizing, which directly affects how a story is told. It has made it easier for me to communicate with cinematographers more effectively, as I know the proper terminology as it relates to camera operations and technologies. I understand how angles, perspective, and balance shape emotion, and my attention to detail brings a sense of realism scenes as my shots enhance the viewer’s connection to what’s being shown on screen. I have a growing collection of coffee table books, and a goal that I have as I continue my creative journey is to begin releasing books filled with stills for every film that I direct. I live in a visual world, and my greatest inspirations come from studying frames and watching films with no sound, which encourages my focus on the visuals.
The Knockturnal: Your work has already received significant recognition across major festivals. How has that early success shaped your vision for future projects?
Jada George: I’ve been bitten by the bug. As someone who is an overthinker, perfectionist, and procrastinator, this experience has shown me the benefits of just doing the work and putting it out. I have learned that this journey is all about growth. For years, I would put my work on the back burner because I was so worried about how people would receive it. This only prolonged my development as a director. Each project is a stepping stone and provides an opportunity for you to learn and develop your skills. If you never put your work out, you won’t know what works and what doesn’t. There is a weight that’s been lifted off my shoulders, and I’ve been surprised at how much great feedback I’ve gotten just from people who respect artistry and the process that comes with it. I am excited to simply continue doing the work and showing people the world through my eyes.
The Knockturnal: Sevyn and Solana’s journey is both psychological and deeply human. How did you work with your actors to convey vulnerability within such a cold, controlled environment?
Jada George: Everyone that I collaborated with on this project is overly talented in their own ways. I knew it, and they knew it. For me, my job was to simply give them the freedom to try everything, and this built the trust that was needed to inspire stellar performances. Blocking was a huge part of our on-set rehearsal, as this story has so much precision. The androids needed to be in sync to influence just how perfect they are claiming to be. It’s what drove the intimidation and set the foundation of Sevyn and Solana’s differing relationships with them. I spoke to the cast one-on-one to lock in the tone in which I wanted them to deliver their lines, along with the type of person they were supposed to be representing. This grounded our story as each character plays into the diversity of our world. Truthfully, though, once the cameras started rolling, I didn’t have to do much on my end. Our cast are brilliant acts, some in which I was meeting for the first time and some in which I knew or had ties to my producers. It didn’t feel like work. It felt like I was able to simply bring a group of people together who were all as equally hungry as they were talented, and that became the perfect formula for execution. I may have been spoiled with how seamless of a shoot this was, as everyone understood my vision and showed up to set ready to create the best work possible.
The Knockturnal: Where The Children Go To Play leaves audiences questioning systems of power and identity. What conversations do you hope it sparks, and what kinds of stories are you excited to tell next?
Jada George: We connect with Sevyn and Solana through empathy, which makes it easier to care about the issues they are facing and how it affects them. I hope this encourages the audience to reflect on our world today as it relates to systems of power and identity, as well as the evolution of technology. Seeing ourselves in the candidates’ shoes, I hope we realize how much of a disservice it is to allow for singular groups to dictate our livelihood. Now more than ever, we must take a look at where humanity is headed and remind ourselves that we are who we are as a nation because of the contributions of every person living here. Kindness and equality is what we need to lead with, no matter how a person identifies themselves. My hope is to continue telling stories that challenge my abilities as a director. I want to break through the box and present limitless opportunities for myself, as I will always be a student of the game. It’s about learning and expanding my palette, so I am eager to try everything. I am currently writing a romcom feature film that will allow for me to explore new themes, but most importantly, I am looking forward to the collaboration of it all. What is shown on TV must reflect our world and everyone in it, and there is no limit to that.
