August 27, 2013, 7:00 P.M.

The Ray Stark Family Theatre, SCA 108, George Lucas Building, USC School of Cinematic Arts Complex, 900 W. 34th Street, Los Angeles, CA 90007


Outside the Box [Office] and The Film Arcade invite you and a guest to a special preview screening of

Afternoon Delight

Written and Directed by Jill Soloway
Produced by Jen Chaiken and Sebastian Dungan
Followed by a Q&A with Jill Soloway
7:00 P.M. on Tuesday, August 27th, 2013
The Ray Stark Family Theatre, SCA 108
900 W. 34th Street, Los Angeles, CA 90007

Official Selection: Sudance Film Festival 2013

WINNER: Directing Award – US Dramatic Competition, Sundance Film Festival 2013

Opens in NY/LA on Friday, August 20th, 2013

About Afternoon Delight

AFTERNOON DELIGHT is the story of Rachel, a stay-at-home mom who becomes obsessed with saving a stripper named McKenna.

It’s nine am. You’ve just dropped your kid off at school. Pick-up is at four. No one knows where you are, and no one needs you. So what now? Rachel is a quick-witted and lovable, yet tightly coiled, thirty-something steeped in the creative class of Los Angeles’s bohemian, affluent Silver Lake neighborhood. Everything looks just right—chic modernist home, successful husband, adorable child, hipster wardrobe. But when she visits a strip club to spice up her marriage and gets a private dance from McKenna, something cracks open. Rachel returns to the scene of the dance to get to know McKenna, and soon after, adopt her as a live-in nanny. This bold move unleashes unimagined and colorful waves of change into Rachel’s life, marriage and community.

Provided courtesy of The Film Arcade. Rated R. Running time: 95 minutes.

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About the Guest

JILL SOLOWAY (Writer/Director)

Jill is currently developing an original comedy series for AMAZON. She’s also consulting as a writer and director on HBO’s upcoming series about the life of gay men living in San Francisco and working on her next feature script. Jill’s short film, UNA HORA POR FAVORA premiered at Sundance 2012 and toured many other US festivals. She is a three-time Emmy nominee for her involvement on HBO phenom SIX FEET UNDER. Jill worked as a showrunner and executive producer on HBO’s HOW TO MAKE IT IN AMERICA and Showtime’s UNITED STATES OF TARA. In 2005, Jill authored TINY LADIES IN SHINY PANTS, a post-feminist manifesto/memoir. With her sister Faith Soloway, she created theater pieces THE REAL LIVE BRADY BUNCH and the MISS VAGINA PAGEANT at the Annoyance in Chicago; they toured the country with both shows. With Maggie Rowe, Jill created HOLLYWOOD HELL HOUSE and SIT N SPIN, a twice-monthly reading series in LA that has been around for over a decade. She is a co-founder of the community organization East Side Jews. She lives with her husband and two sons in Silver Lake.

Director's Statement

Last summer, I was feeling an antsy, creative restlessness. Although I was a TV writer/ producer with over a decade of experience, (SIX FEET UNDER, UNITED STATES OF TARA) and had written screenplays for studios, it was time to reach for something higher, to punch above my weight. I wrote AFTERNOON DELIGHT and made the promise that the only absolute about this screenplay was that it would be my feature directorial debut.

When I began, I saw the film as a way to inspire brilliant comedic actors to head to deeper, more human places in their processes. The movie’s spine-- mom rescues hooker-- seemed a like a fun way to achieve that cinematic goal of marrying hard comedy with real feeling. But as we shot AFTERNOON DELIGHT and shared it with wider audiences on the festival circuit, more relatable concepts emerged.

It turns out everyone has lived the story about how easy it is to distract yourself-- from your self-- with an idea about helping. It can be easier for people to open up when there’s a transaction-- financial or otherwise-- at play. But the loudest, clangiest bell has been the notion of how hard it is to eep having great sex in a long-term relationship. The moments of self-recognition in our collaborators and audiences around this truth have been revelatory. Ultimately, if this film were known for one thing, I’d want it to be loved a hilarious and relatable exploration of marriage and relationship in our highly connected, disconnected era.

Beyond the comedic and cinematic concepts that were on my mind, I made a few feminist choices while writing. Often, when the Madonna/Whore trope turns up in popular entertainment, the bad girl gets thrown under the bus or otherwise metaphorically murdered so that the movie can fulfill a typical Hero’s Journey plot. I am deeply interested in another possibility, a less-told Heroine’s Journey that unravels in the shape of contiguous spirals. These interconnected circles form an emotional roller coaster for the audience as we allow dual protagonists to repeatedly switch places; both women veer through right and wrong multiple times.

Something else that drove me was the idea of a female main character who could be an unlikely, complicated and utterly real screw-up of a woman. We're used to the Seth Rogans, the Jack Blacks and Albert Brooks as lovable but nebbishy wrong-headed male leads. It’s always felt frustrating to me that studio films seemed to present my entire gender as beautiful and perfect and interested in making great choices. This movie aims to remind us that women want the same thing from movies that any audience wants from life-- emotional honesty, raw comedy and the humanness of true flaws.

This moment is about multiple things converging-- the power in my artistic and filmmaker dreams coming true-- mixed with the extreme vulnerability of watching a deeply personal tale unfold on screens across the country. Winning the Directing Award at Sundance 2013 was a complete shock and a huge thrill, and so validating. I’m so excited to share this film as it premieres and travels the world. And as for the future, I can’t wait to do this kind of work again and again.

-- Jill Soloway

About Outside the Box [Office]

Outside the Box [Office] is a weekly showcase for upcoming releases highlighting world cinema, documentary and independent film titles. Recognizing a need for greater diversity on campus, the series will draw from around the globe to present movies that may challenge, inspire or simply entertain.

To view the calendar of screenings, click here.

Check-In & Reservations

This screening is free of charge and open to the public. Please bring a valid USC ID or print out of your reservation confirmation, which will automatically be sent to your e-mail account upon successfully making an RSVP through this website. Doors will open at 6:30 P.M.

All SCA screenings are OVERBOOKED to ensure seating capacity in the theater, therefore seating is not guaranteed based on RSVPs. The RSVP list will be checked in on a first-come, first-served basis until the theater is full. Once the theater has reached capacity, we will no longer be able to admit guests, regardless of RSVP status.


The USC School of Cinematic Arts is located at 900 W. 34th St., Los Angeles, CA 90007. Parking passes may be purchased for $10.00 at USC Entrance Gate #5, located at the intersection of W. Jefferson Blvd. & McClintock Avenue. We recommend parking in outdoor Lot M or V, or Parking Structure D, at the far end of 34th Street. Please note that Parking Structure D cannot accommodate tall vehicles such as SUVs. Metered street parking is also available along Jefferson Blvd.

Contact Information

Name: Alessandro Ago