DON’T LOOK AT ME LIKE THAT
Short Film
Project Type: Short Film
Project Status: Pre-Production
Writer / Director / Editor: Brendan O'Callaghan
Producer: Madelyn Damazo
Cinematographer: Andrew Weir
First Assistant Director: Nate Allen
Production Designer: Caroline Murray
LOGLINE
Unable to let go of someone she lost, May keeps finding her way back to his younger brother. As their bond deepens, his attention becomes something she is not ready to answer for.
SYNOPSIS
Unable to let go of someone she has lost, seventeen-year-old May keeps finding her way back to Yuta, the younger brother of the boy she cannot move on from.
Yuta is still living in the shadow of his older brother, carrying reminders of him wherever he goes and holding onto the hope that life might eventually feel normal again. When May enters his life with a kind of attention he doesn't fully understand, he mistakes her closeness for affection. To him, it feels like someone is finally choosing him.
For May, it is far more complicated. Yuta becomes a reminder of someone she cannot stop thinking about and a way of staying connected to a past she cannot leave behind. As they grow closer, she allows him to believe in a version of their relationship that she cannot fully return. What begins as a search for comfort slowly becomes something neither of them is prepared to face.
Don't Look at Me Like That is an intimate coming-of-age drama about longing, loneliness, and the ways people reach for connection when they cannot ask for help directly. Rather than offering easy answers, the film explores the emotional consequences of misunderstanding, blurred boundaries, and the painful distance between what people feel and what they are able to express.
DIRECTOR’S STATEMENT ABOUT THE PROJECT
Don’t Look at Me Like That is about the gap between what people feel and what they are able to express. The film follows May, a young woman who needs help but does not know how to ask for it directly. Instead, she reaches for connection through Yuta, the younger brother of someone she cannot let go of, and allows him to misunderstand what her attention means.
I am drawn to stories about people who are difficult to understand from the outside. In my own work, I keep returning to characters who want to be seen, but resist the exposure that being seen requires. May is not someone I want to excuse, because her confusion has consequences. She crosses boundaries, withholds the truth from Yuta, and lets his affection become a way of avoiding what she cannot say. But I also do not want to reduce her to a villain or a lesson.
This story feels important now because so many people have language for what they are going through, but still struggle to ask for help honestly. The film looks at what happens when the need for connection has nowhere direct to go, and how even imperfect attempts at connection can bring us closer to understanding.
Meet The Filmmakers
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Brendan O'Callaghan
Writer / Director / Editor
Brendan O'Callaghan is a writer, director, and editor from Michigan currently studying Film Production at Chapman University's Dodge College of Film and Media Arts. His work explores characters caught between what they feel and what they are able to express, with an emphasis on intimate performances and emotionally grounded storytelling.
His previous films include Echoes, a Student Emmy-nominated short, and Sunder, which received both MIPA and Scholastic recognition. As an editor, he has also contributed to projects including Scrap and 1-800-HE-HEALS. Brendan approaches filmmaking as a collaborative process, bringing together artists with diverse perspectives to create thoughtful, character-driven work.
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Madelyn Damazo
Producer
Madelyn Damazo is a narrative filmmaker and producer dedicated to developing character-driven stories through collaborative filmmaking. She has experience producing independent narrative projects from development through post-production and brings a practical, organized approach to managing productions.
Her background includes below-the-line training through Savannah Technical College, internships, paid production assistant work, and producing multiple independent films. Her producing credits include I'm the Worst, while Redlight and Grit showcase her work as a producer, writer, and director. She is passionate about helping filmmakers realize ambitious stories through careful planning, creative problem-solving, and strong leadership. -
Andrew Weir
Cinematographer
Andrew Weir is a cinematographer whose work focuses on intimate, human-centered storytelling. His visual style combines natural light, restrained camera movement, and an emphasis on authentic performances to create images that feel grounded, emotionally honest, and cinematic.
His cinematography credits include Queen Taylor, Scrap, and Waves, spanning drama, horror, and science fiction. Andrew is drawn to projects where visual storytelling grows naturally from character, helping audiences connect with emotional moments through carefully observed imagery rather than spectacle.
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Nate Allen
First Assistant Director
Director Nate Allen is a filmmaker from Boston currently studying Film and Television at the Savannah College of Art and Design. As a First Assistant Director, he specializes in building safe, efficient, and collaborative film sets that allow cast and crew to do their best work.
His credits include serving as First AD on the feature film Degrees, the horror television series Souls of Savannah, and the comedy pilot Broadcasting 101. Nate brings strong organizational skills, clear communication, and a calm leadership style that helps productions stay on schedule while maintaining a positive working environment.
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Caroline Murray
Production Designer
Caroline Murray is a production designer and filmmaker studying directing at Chapman University's Dodge College of Film and Media Arts, with a minor in fabrication and design. She is passionate about building environments that support character and story while giving films a distinct visual identity.
Her work spans directing, acting, and production design, giving her a broad understanding of visual storytelling and collaboration across departments. Her production design credits include Starting Over and the music video Who's Chasing Who, and she directed the comedy short Femcel. Caroline enjoys creating lived-in, emotionally expressive spaces that help bring narrative worlds to life.
Your Help
DON’T LOOK AT ME LIKE THAT is a fiscally sponsored project of Cinematography for Actors, a 501(c)(3) nonprofit organization. Your donation will be tax-deductible!