Finding Power in the Awkward: Elliot Frances Flynn on ‘BABY FAT,’ Dark Humor, and Growing Up the Hard Way

Adolescence is rarely as honest as it is in Elliot Frances Flynn’s work. The actor-filmmaker’s debut short, BABY FAT, turns the most excruciating parts of girlhood into something at once hilarious, sickening, and uncomfortably familiar. Centered on a 13-year-old caught between ruthless friends and a dangerously trusted adult, the film leans into “weird pubescence” rather than polished teen fantasy, mining peer pressure, sexual anxiety, and cultural expectations for their darkest laughs and sharpest truths. Fresh off a run on the festival circuit and a turn in the DC Universe’s Peacemaker, Flynn is carving out a space for stories that toe the line between comedy and horror—where the joke lands right as your stomach drops.

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Indie Shorts Mag: Your debut short film, “BABY FAT,” has been described as a darkly funny cautionary tale. Can you talk about the creative process behind balancing humor with the sensitive and serious themes of adolescence and misplaced trust?

Elliot Frances Flynn: ​​Adolescence is deeply painful, but once you’re past it, it’s funny. In BABY FAT, the scheme the girls hatch –to start an after-school prostitution ring behind an ice cream shop– is absurd. It’s also sad; it’s sickening. The humor comes from this absurd plot, and how seriously they take themselves, and the 2006 fashion. But there’s a ‘big bad’ lurking in the background, and when he comes to the forefront, it stops being funny. 

Indie Shorts Mag: What inspired you to explore the story of a 13-year-old girl navigating the complexities of friendship and authority in “BABY FAT”? Were there any particular films or filmmakers that influenced your directorial approach?

Elliot Frances Flynn: I think the navigating that Valley, my protagonist, is trying to do really amounts to this suffocating pressure that she feels. Peer pressure, sexual pressure, cultural pressure. I think much of girlhood and adolescence is trying to find a sense of power and control; I’m haunted by these things. That’s how BABY FAT came to be.

A huge source of inspiration for me was Welcome to the Dollhouse. It was exactly what I wanted the movie to be – I didn’t want the sexy teens of Thirteen, though that is a great movie. I wanted weird pubescence. And they’re ruthless in the Solondz! The things they say are so crude and cruel; they’re horrible. I also was very inspired by L.I.E., Long Island Expressway. Brian Cox and the filmmakers toe the line in that film, by not revealing much of the adult – the pedophile’s– inner life. That certainly informed my, and Quincy’s (Dunn-Baker) take on his character.

Indie Shorts Mag: As an actor, you’re used to being in front of the camera. What was it like to transition to the director’s chair for “BABY FAT”? How did your acting experience inform your direction, particularly when working with the cast?

Elliot Frances Flynn: I thought it would be easy because we speak the same language. But I realized the way that I, as an actress, speak with my director doesn’t translate the opposite way. That knocked me off a little bit. But, my actors were fantastic and I trusted them unconditionally. They did their thing, and I redirected only when necessary. I was never going to make a movie that was very technically heavy, or all about the visuals, or fancy camera moves or something. The actors are the most valuable thing on screen. Everything else could be shit, in my opinion. We talked about the characters and themes, rehearsed sparingly, and then we let it rip, basically. 

Indie Shorts Mag: Themes of womanhood, sex, and coming-of-age are central to your work. What is it about these themes that you find so compelling to explore as a filmmaker, writer, and actor?

Elliot Frances Flynn: It would be really easy to say here, maybe I’m just obsessed with myself. But that’s not it. I’m stuck with myself for the rest of my life. So I’m trying to understand her, and find other people like her. The best part of sharing my work is when a woman tells me she’s the same way. 

Indie Shorts Mag: Your work often has a humorous edge. Why is humor an important element for you when telling stories, even those with darker undertones?

Elliot Frances Flynn: Humor makes the tough things go down smoother. Also, I think I’m at the point in my life where I want to find joy anywhere I can, even if it’s a laugh at something sick. 

Indie Shorts Mag: “BABY FAT” is currently on the festival circuit, showing at festivals like Indie Street Film Festival and Greenpoint Film Festival. What has the experience been like sharing your film with audiences and seeing their reactions?

Elliot Frances Flynn: It makes it quite easy to find the other millennials in the room. The comments I get most frequently are about the costumes, and about the song we use in the film, “Right Thurr” by Chingy. Other than that, reactions have been somewhat mixed. The people who get it get it, and the people who don’t think I’m promoting something illegal. Someone said they didn’t think it was clear enough that I don’t support the girls’ actions, and they found that troubling. I guess the movie is not for that particular person.

Indie Shorts Mag: From your award-winning role in “THE BABYSITTER MURDERS: TIMINGS OFF” to your appearance in the SXSW selection “LINOLEUM,” you’ve been a part of a variety of interesting projects. What do you look for in a role, and how does that differ from what you look for in a story you want to write or direct?

Elliot Frances Flynn: I know a part is right for me when I absolutely just fall into it. It can happen during the audition. You just drop into that person’s emotional inner life. Horror, like The Babysitter Murders, is a total thrill. The stakes in the character’s world are so high – it’s life or death for them. When it feels life or death to you too, that’s when it’s right. I choose the things where I fall deeply in love with the character. As my career has grown, I also look at the collaborators. When you think of the sacrifices you have to make to do good work as an actor, you want to think of who is going to be there when you’re making those sacrifices. Will those people be supportive? Will they make you feel safe? Will they encourage you? Even, are they in that dark place with you, and you’re going to get out on the other side together? Those things are important. As my career has changed, that factor has become a key decision maker in a way it wasn’t before.

When it comes to what I want to write and direct, I’m like, what’s a thought or experience I’ve had that I might not say in mixed company? Then I will say that. I love when it turns out the thought wasn’t so crazy after all. 

Indie Shorts Mag: You recently entered the DC Comics Universe as Zora in “PEACEMAKER.” What was it like to step into a high-profile comic book adaptation, and how did that experience differ from your work in independent film?

Elliot Frances Flynn: Oh my god well there’s nothing like the DCU is there? It’s nice to know when you’re part of something that you know people want to see. In indie film it’s such a crapshoot. But I knew people loved Peacemaker, so knowing that and looking forward to that was an experience I hadn’t had before. The fans give many shits about it. It was an honor to be part of it in the small way that I was. 

Indie Shorts Mag: Looking back at the making of “BABY FAT,” what is one piece of advice you would give to other actors who are considering writing and directing their own projects?

Elliot Frances Flynn: It’s so much cooler if you don’t also act in the film. More importantly though, you don’t have to know everything. Just surround yourself with people who do know what they’re doing. What I love about filmmaking is it takes a village. It’s a group project. 

Indie Shorts Mag: What’s next for you? Are you planning to direct more films, and are there any upcoming acting projects or new stories you’re excited to tell?

Elliot Frances Flynn: I think I will direct more, even though I say I don’t want to. It’s such hard work. But I keep writing things. Acting projects, there are some things I’m excited about. To be continued…

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As BABY FAT continues to find its audience, what’s most exciting about Elliot Frances Flynn is the sense that she’s only just begun to say the things most people would never admit in mixed company. Whether she’s dropping into a life-or-death horror role, trading barbs in a millennial nostalgia fever dream, or quietly constructing another unapologetically personal script, her work chases connection through discomfort, laughter, and risk. She may joke that directing is too much hard work, but the stories keep coming—and with them, a growing community of viewers who see themselves in her sharp, funny, deeply felt portraits of girlhood and beyond. For filmmakers watching her trajectory, Flynn is a reminder that the most unsettling ideas, when pursued with honesty and a little bit of sick humor, can be the ones that hit hardest.