Meet the Mind Behind The Award Winning Film
In certain films, you can feel the care and intention of the filmmaker in each shot, and each line of dialogue that is uttered. There was no doubt when watching the acclaimed short film Best Eyes, that there was likely a deeply personal story that led to its creation. Enter Kira Powell — a writer, director, and actor who willed this film into existence. Informed by her own story, Best Eyes investigates themes like identity, belonging, and the immigrant experience.
The NAACP Award nominee focuses on a biracial teen who forms a friendship that challenges the version of herself that her mother believes will keep her safe—leading her toward self-acceptance. While the story is intimate in scale, many will find that the themes are relatable and need to be brought to the surface to invoke dialogue.
We chatted with Kira about her acclaimed short film, her inspirations, and her plans to expand Best Eyes in the future. Enjoy.
Can you tell us about your early beginnings in film and what got you into acting/directing?
Growing up, I was an extremely shy kid. I would freeze in social situations, and I dealt with major social anxiety throughout my teens. But there was always something about performing and public speaking that I loved. I know that sounds like a paradox, and I’ve tried to make sense of it myself, but I found the stage to be a safe space for expression. That freeing feeling is what led me to fall in love with acting. It was a place where I felt safe to be myself, and to be seen.
Pursuing a consistent career in acting is a challenge, so I wanted to be able to continue creating art without the approval of someone else in order to do it. With acting, it’s difficult to do that without someone greenlighting you if you’re not making your own work. So, I started writing and performing my own pieces, which led me to directing.
As an artist, being a multi-hyphenate is fulfilling to me because I can tap into and use all parts of myself. I’ve realized I’m happiest when I’m creating in more than one way, because each role lets me access a different part of who I am: my depth and vulnerability, which is great for acting; my quiet and introspective side, which is great for writing; and my level-headed, big picture thinking, which is great for directing.
“I wanted to be able to continue creating art without the approval of someone else in order to do it”
Best Eyes explores some very heavy themes around identity. Where did the spark of inspiration come from to tell this particular story?
I was going through a time in my life where I was really doing a deep dive into my childhood and my Black and Latina roots. Through acting, I uncovered a lot about myself, and I was proactively addressing a fear of being seen and where it came from. I was in therapy deepening my understanding of who I am, and how the struggles my parents faced as people of color shaped me.
In 2020, I was quarantining with my mom as she was struggling with insomnia, and I helped her heal some trauma around the root of her insomnia. I helped her to see the beauty and value within herself. As an aging immigrant Latina woman, it can be hard to hold onto your worth when society sets narrow standards of beauty and frames caregiving as your primary value.
Witnessing my mother’s identity struggles and helping her work through them began to open something up in me. I was already thinking about my own identity and worth when the George Floyd protests erupted. I was grappling with the tension of having experienced racism myself, while also feeling guilt about the ways I had internalized it and perpetuated it without fully realizing.
Best Eyes, which was adapted from my one-woman show Caught In the Mix, was a way to heal and make sense of that. It helped me grow empathy for my parents and explore the complexities of being mixed race and how colorism, internalized racism, and systemic racism shape our families. It’s about how these forces are passed down, and why it takes intention to interrupt them.
“I was grappling with the tension of having experienced racism myself, while also feeling guilt about the ways I had internalized it and perpetuated it without fully realizing.”
Were there any obstacles you faced as an indie filmmaker trying to get this story off the ground?
As an indie filmmaker, the list of obstacles can be endless, but there was something deep in me that said this story needed to be told. I had to move through a lot of barriers, both internal and external, including budgetary limitations, and to acknowledge the importance of expressing my voice and telling my truth.
I made Best Eyes as my thesis film in the AFI Directing program, and it was a challenging project to shepherd through the process because of the subject matter. Everyone had opinions and notes, from faculty to students, and at certain points I let other people’s feedback pull me away from my original intent. At first, I regretted being so influenced, but I eventually realized I needed to go through that journey. I was working with a talented team of individuals, including my producer Tara Austin, my co-writer Lauren Thomas, cinematographer Udit Nijhawan, production designer Disha Shah, and editor Sharon Shen. We went through so much together, and by the time we stepped on set, I felt confident about the story and what we were creating together.
There were also substantial production obstacles. On set, we faced real-world disruptions, including one day when we had to shut down and leave for safety. It felt like one challenge after another, but despite all of it, there was so much ease and love on set that our team kept moving forward.
“As an indie filmmaker, the list of obstacles can be endless, but there was something deep in me that said this story needed to be told.”
We’ve read that the film is in feature development — congratulations! What steps did you take after the short film to get it on track to become a full feature?
Even before I made the short, I had an early draft of the feature, though the plotlines and story have evolved a lot since then. The core of what I wanted to say was always there, but going through AFI and developing the script in my feature development class helped me shape it into a stronger, more intentional feature.
After AFI, I took the next step by attaching producers who are now helping me develop the material further and package the project.
What can you share about how you plan to expand that world in the feature?
I’m expanding the characters’ stories, especially Olivia’s experience at her private school, where we see the subtle pressures around beauty standards and belonging that shape how she presents herself. We also go much deeper into Rosa’s interior life, her sacrifices, fears, and ambitions for her daughter, so her choices land with greater empathy. And in the feature, the yearbook “Best Eyes” superlative becomes a throughline that raises the stakes around how Olivia wants to be seen and who she feels she has to become to belong.
“Through acting, I uncovered a lot about myself, and I was proactively addressing a fear of being seen and where it came from.”
What is your long-term goal as an artist?
I want to continue creating and sharing stories that people connect deeply with, and to allow myself to be vulnerable so others feel permission to be open too and find healing in the work. Long-term, I want to build a body of work and a sustainable career making intimate films and series about identity, family, and the hidden emotional work people carry, while continuing to act as part of my
