Laura Moss: I took a long time to realise my film was a mash-up of Frankenstein and Mary Shelley’s life

“And now, once again, I bid my hideous progeny go forth and prosper,” Mary Shelley wrote in the foreword to the 1815 reprint of Frankenstein. Shelley had a fraught relationship with motherhood: her own mother, the feminist author Mary Wollstonecraft, died from complications during childbirth. While waiting for the midwife on August 30th, 1797, Wollstonecraft scribbled a loaded note to her husband: “I have no doubt of seeing the animal today.

“I think it took a long time for me to realise how much my film was a mash-up of Frankenstein the novel and everything I learned about Mary Shelley’s life,” says Moss. “I love the novel because of the scope and ambition of it. For me, it exceeds other classic novels I’ve read by women of the time. So I became interested in Mary Shelley, and her history of grief and miscarriage, the loss of her mother, and the overwhelming shadow of her mother, who was herself a feminist icon fascinated me.

“I think that that’s an experience that a lot of people with uteruses can relate to. I know that for me going through different phases of life informed the writing and the creation of the film. I turned 40 on the set of this movie, and I feel if there’s a target audience for this film, it’s people in their late 30s or early 40s reckoning with and seeing the end of their reproductive years on the horizon.

When Moss returned to New York, her stressful experiences on the frontlines proved useful training for the fraught, low-budget production of Rising Up: The Story of the Zombie Rights Movement, her award-winning short film from 2009. She has subsequently directed seven more shorts, plus an episode of Neurotica for TV, and worked as a production designer on more than a dozen projects. Birth/Rebirth has had a long, carefully considered gestation.

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