by Rob Kay and Cindy Ramirez
Big Island-based filmmaker Zoë Eisenberg has crafted a body of work that reflects a deep connection to her island roots. Known for her multifaceted talents as a filmmaker—having produced, written, and directed—2024 has been a standout year for Eisenberg, with the release of her solo directorial debut, Chaperone, alongside the publication of her debut novel, Significant Others. The film won the Grand Jury Award for Breakouts at the 2024 Slamdance Film Festival and will be screening at the Hawaii International Film Festival (HIFF) on Thursday, October 10.
Eisenberg’s creative journey is as diverse as her achievements. From co-founding and serving as executive director of the Made in Hawaiʻi Film Festival, which highlights local talent, to co-founding Aerial Arts Hawaiʻi, an inclusive circus performance collective, her work consistently champions artistic expression and community.
Chaperone is set in Hilo, where the film’s central character, Misha, a 29-year-old woman, finds herself drifting through life. She works at The Palace Theatre and seems caught in a state of suspended adulthood, making choices that could be seen as carefree—or perhaps escapist. When she embarks on a romantic relationship with a high school student, Jake, she lets him believe she’s closer to his age, setting off a chain of events that pull her deeper into a life that feels increasingly out of her control.
As Misha’s choices spiral, her actions become a precarious balancing act between liberation and self-destruction, drawing the audience into her world of blurred boundaries and unchecked emotions. While it’s clear that Misha is struggling, the film keeps us hooked, inviting us to understand her decisions without offering easy judgments. Chaperone masterfully balances this emotional tension, creating a compelling mix of unease and empathy, as viewers find themselves both rooting for and questioning her at every turn.
There’s an undeniable thrill in watching Misha navigate this emotional labyrinth—her unpredictability is magnetic, making it impossible to look away as the consequences of her choices unfold.
We recently sat down with Zoë Eisenberg to talk about Chaperone, the production process, and her experience as a filmmaker.
Q: Chaperone begins as a character study but gradually builds tension, unfolding more like an emotional thriller. Was this shift intentional from the outset, or did the thriller elements emerge organically during development?
A: The tension was definitely intentional from the outset, where by the third act the film feels quite different than it did in the first, though the hope is the build is gradual.
Q: As both a published novelist and filmmaker, how did you navigate translating internal emotional struggles into a visual medium, especially in a character-driven film like Chaperone?
A: For me so much of that comes down to casting. For me, some of the most emotionally impactful moments of the film are when we are with Misha (Mitzi Akaha) alone in silence, when she really has to face herself without distraction.
Q: Chaperone centers on intense personal relationships. How did you work with the actors to bring out the exquisite depth and nuance required for this film?
A: I was lucky to bring on Mitzi Akaha very early in the development stage, so we got to go back and forth with several different script drafts together and deepen our joint take on Misha. Our production was fast-paced and in constant flux, and I often relied heavily on Mitzi’s instincts to pivot when needed – no one knows Misha better than she does, at this point.
Q: How does being based on the Big Island has influence the way you approach filmmaking and storytelling? (Or does it matter?)
A: I am a very community-focused filmmaker, in that I prioritize my relationships over the final outcome of my work, and in my opinion this is necessary for working in the islands.
Q: The Jake/Misha scenes with the coqui frogs and the swimming were sweet moments. Were these locations and soundscapes already embedded in Misha’s story or did it develop during production?
A: The coquis came about in development. As the story progresses and Misha’s behavior becomes more problematic, thematically I like to think of her as an invasive species entering a world without natural predators. An invasive species doesn’t realize they’re invasive, they’re just trying to get their needs met. I worked with Taimane to bring this to the forefront in our score, as well. That said, there is also a practical side of it — there is no way to shoot in the evenings on Hawai’i island without being joined by the coquis.
Q: You have an established body of work as a writer and producer in Hawaii. What are the challenges or opportunities that come with being a filmmaker on the Big Island?
A: It’s remote and the resources are minimal; opportunities for meeting folks who would like to support my work can be hard to come by. That said, it’s extremely important to me to be working to solve these issues for myself and other creatives in the community, so I like to view these challenges as puzzles to solve.
Q: Your press material mentions that the genesis of the “Misha” character evolved from an incident that happened in your own life. Were any of the other characters based on Big Island people you know or composites?
A: I have a long and lovely relationship with the Palace theater; I started producing circus shows there in 2017. A lot of the world I created for Misha at the Palace are composites of issues I’ve seen the theater address over the years.
Q: Any advice for budding local filmmakers?
A: In the beginning, work as cheaply and as quickly as you can. Make your first films with your friends, and give more than you take from your creative community.
Rob Kay is a columnist for the Honolulu Star Advertiser who covers consumer technology and digital media. He is the author of guidebooks to Fiji, French Polynesia and the creator of FijiGuide.com.
Cindy Ramirez is an actor and writer who splits her time between Oahu and Northern California.