"The Strange Disappearance of Emily Jayne": Steven Adam Renkovish on Becoming a Protector of Art Through the Preservation of Physical Media, His Love Letter to Halloween, and the Magic of Old Cameras.
- 2 days ago
- 7 min read
Writer, director, cinematographer, editor, and producer Steven Adam Renkovish has built a body of work defined by a love of classic cinema, analog filmmaking, and deeply personal storytelling.
With The Strange Disappearance of Emily Jayne, he fulfills a lifelong dream of creating a Halloween themed love story on Super 8, crafting what he describes as an unapologetically queer analog mood piece with the film family he loves dearly.
Joined by producer and lead actress Brittany Renee ("Emily Jayne") and actress Shelby Lynne Willis ("Annabelle"), the team sits down with Filmmakers In Boardrooms to discuss the making of the film, shooting on vintage Super 8 cameras, preserving physical media, and building a creative family.
Like the film itself, the conversation invites us into Steven's world, one where cinema is meant to feel warm, nostalgic, and lived in, leaving audiences wanting to crawl inside the frame, cozy up under a warm blanket, and stay awhile.
For many filmmakers, PHYSICAL MEDIA is more than a shelf of Blu-rays, DVDs, or books. It is a living archive of cinema. During the conversation, Martin Del Carpio reflected on the importance of boutique labels and collectors who continue to champion overlooked filmmakers, preserving works that might otherwise disappear from public view.
Steven Adam Renkovish agreed, explaining that every film he owns represents an opportunity to discover forgotten artists, revisit influential works, and share those experiences with others.
"While streaming services offers convenience, it can never replace the permanence of owning a film. Titles can vanish overnight from digital platforms, but a physical copy remains in the hands of its owner forever, ready to inspire the next generation of filmmakers." Steven Adam Renkovish
For Steven, collecting physical media is ultimately an act of stewardship. It is about preserving cinema's history, introducing others to films they may never have encountered, and ensuring that great works continue to be seen long after algorithms and licensing agreements have moved on.
"Guillermo del Toro had an interesting quote recently... I'm paraphrasing, but basically the idea was that if you own a physical copy of a Blu-ray, a book, whatever, you are one of the protectors of that work of art." Steven Adam Renkovish
Steven believes films should be owned physically. While he appreciates streaming for what it is, he points to the experience of purchasing a digital copy of Pedro Almodóvar's Bad Education only to find that it disappeared from his streaming library one day. Although the film eventually returned, the experience reinforced why he continues to collect Blu-rays and DVDs. He sees physical media as something worth holding onto and sharing. He regularly lends films to friends, gifts Blu-rays to those he cares about, and even bought Shelby (actress) a Blu-ray player so she could build her own collection. For Steven, giving someone a favorite film is more than a gift. It's a way of sharing something meaningful, preserving the movies he loves, and passing that passion on to others.
If you love something and it has made an impact on you in some way, shape, or form, you need to own it physically because there is nothing more powerful than living and breathing art, then sending it out into the world and sharing it with people. Steven Adam Renkovish
For Brittany Renee, her appreciation for physical media began with one unforgettable viewing. Shortly after she and Steven met in the winter of 2006, he introduced her to the film Donnie Darko on his physical copy of the film. Brittany remembers leaving the experience trying to comprehend what she had just witnessed, describing it as unlike anything she had ever seen before. More than twenty years later, she credits that evening with expanding her understanding of what storytelling could be and influencing the way she approaches character and performance as an actress.
Shelby Willis admits she wasn't immediately convinced by Steven's passion for physical media. Having grown up through the transition from DVDs to Blu-rays, she questioned whether the difference was really noticeable. That changed the moment she revisited one of her favorite films, Coraline, on Blu-ray. The richer sound design, greater visual depth, and heightened detail revealed an entirely new viewing experience. The same was true when she compared The Awakening of Lilith on streaming versus physical media, discovering nuances in the soundscape she had never heard before. Today, Shelby proudly calls herself "a physical media girl," crediting Steven with opening her eyes to a deeper appreciation of cinema and the craftsmanship behind every frame.
Next, we turn our attention to the Film Festival circuit.
FILM FESTIVALS can be one of the most rewarding and frustrating parts of a filmmaker's journey. Martin Del Carpio asks, "With hundreds of festivals to choose from, little feedback after rejection, and the cost of submissions adding up quickly, how do you decide where to submit, manage expectations, and stay true to your film?"
Steven shares "Starting off, I look to see what sort of films each festival is looking for. That's the first thing that I do. At present, I have submitted this movie to 122 film festivals. So far, we've gotten into one and we've had 19 rejections. Honestly, having done this for a while, it's just part of the game. For every selection, you're going to get like five rejections, or more in this case. One festival emailed me and asked if I would edit the film and cut the running time to fit their time slot. I said, "NO" because there's nothing in this film that I could cut that wouldn't ruin it. I put too much time, money, and effort into this film. My actresses and my score composer, Kelly Ward, did a wonderful job, and I'm not cutting it up for anybody."
Also, Steven encourages filmmakers to be selective about where they submit, warning that some festivals promise laurels regardless of whether a film is actually screened.
"I don't want a laurel that I haven't earned. Film festival laurels mean nothing to me. I want to earn whatever praise we get." Steven Adam Renkovish
While Steven acknowledges that rejection never feels good, he believes filmmakers have to temper their expectations and develop a tough skin. "There are going to be people who don't like this movie because it's different. It's love it or hate it.
I want to know that if we get selected into a film festival, it's because whoever selected it really found some VALUE in it." Steven Adam Renkovish
Our FiB Live Here:
The Strange Disappearance of Emily Jayne stands as Steven's deeply personal love letter to Halloween, inviting audiences to step into a world that feels both haunting and comforting, where every imperfect frame is part of the magic
Listen To The FiB Live Conversation Here:
Topics Discussed
Topic 1: The Making of The Strange Disappearance of Emily Jayne
Topic 2: Preserving Physical Media & Super 8 Camera (the Beauty of Imperfections)
Topic 3: Building a Film Family
Topic 4: Creating a Halloween Love Letter: Witches, Spells & Atmosphere
Topic 5: Navigating the Film Festival Circuit: Research, Rejection, & Resilience.
Topic 6: Queer Love Story
Steven Adam Renkovish is an independent filmmaker based out of Easley, South Carolina.
He has been an avid cinephile for the majority of his life, and in 2015, he co-wrote and produced the short film, A Beautiful Silence, with his best friend and longtime collaborator, Brittany Renée. He went on to direct the film, which screened at several regional film festivals.
In 2017, he wrote and directed the proof of concept short, Fugue, which would be adapted into his first feature film, The Awakening of Lilith, again with Brittany Renée. It premiered at the Tryon International Film Festival in the fall of 2021, and went on to screen at over twenty festivals, garnered critical acclaim, and won several awards. Considering the humble beginnings and the modest budget of the entire feature - a mere $3,000 - this was quite a success for the Refuge Films family.
When Adam isn’t conjuring up new films with his “sisters from other misters”, Brittany and Shelby, he’s usually working as a barista at Starbucks and/or extolling the virtues of physical media.
When asked about his approach to filmmaking, he has this to say: “All of the fancy film equipment in the world does not guarantee a good film. That has everything to do with your screenplay, your dedication to the craft, and your willingness to set your ego to the side and create something of worth. I’ve seen people do marvelous things with nothing more than a vision, a ton of ambition, and an iPhone. Use the tools that you have at your disposal. Create art with the people that you love. That’s all that matters.”
Brittany Renee is an actor based in Greenville South Carolina. She has a background in singing and theatre acting. She started screen acting in 2015 when she made her first short with longtime friend Steven Adam Renkovish of Refuge Films. She works full time as a registered cardiac intensive care nurse in the hospital. She continues to collaborate in both acting and producing roles alongside Renkovish in film projects for Refuge Films. Her most recent work includes the role of Emily Jayne in the Refuge Films Kodak Super 8 short film, The Strange Disappearance of Emily Jayne. While managing her healthcare job is stressful, she is passionate about her creative endeavors in film and feels as if both serve humanity in unique and special ways.
Shelby Willis is a vocalist and former music educator, excited to have recently made her film acting debut in the Strange Disappearance of Emily Jane (2026).
While continuing to refine her skills as a musician through her membership with the Greenville Chorale, Shelby is currently working on two screenplays revolving around themes of religious trauma and feminine rage
Did someone say The Worst Witch?! My all-time favorite!
I must have watched that film hundreds of times as a little girl.
What a wonderful conversation with Steven, Brittany, and Shelby. It's summer but for a brief moment, I was transported to my favorite time of year which is autumn. It's the season when nature begins to change and everything feels just a little more romantic and snuggly.
I want to take a moment to thank Steven for inviting me into his world and sharing who he is, where he's been, and how those experiences have shaped his filmmaking. After watching The Strange Disappearance of Emily Jayne, I could feel the care, intention, and love behind every moment and beat. Time seemed to disappear for me...
I have always been drawn to films that explore spirituality and a touch of witchy-ness.
I'm eagerly waiting for Practical Magic 2 to come to theaters!
One Halloween, my husband and I drove to Salem, Massachusetts, to visit all the historic sites. Before we left, I bought a witch's hat that I still have after all these years later. LOL!
This is why The Strange Disappearance of Emily Jayne spoke to me the way it did. It brought me back to everything I love about autumn, Halloween, and stories that make the impossible feel possible.
— Julissa Scopino, on behalf of Filmmakers in Boardrooms
Thank you for my DVD, Steven!!!!
