About the Job
Nadia
Hard Ayz
About the Job
Femme / Fluid (uses she / they pronouns). Indo-Guyanese-American lesbian and emerging DJ, is shapely and has a refined indie-sleaze look. Femme-identifying but fluid in presentation (read: more "dyke" than lesbian) she is externally witty (“has mouth,” as her mom says), observant, and guarded (a subtle toughness, in a NYC raised her way). Her DJ sets channels diasporic sounds, blending soca/chutney/dancehall and shoe gaze into tactile club experiences and transforms personal heritage into communal dance floors- her only way to stay connected with her mom and cultural roots, despite the harm her family has caused her. She is still accepting that she was sexually assaulted by her beloved uncle as a child – she has, to a degree, but feels like she cannot accept it fully until 1. Her mom does, and 2. her body moves the way she wants to - she believes this is the reason behind her other biggest shame: not knowing how to dance (or whine. She really doesn’t know how to do that). Is in real time collapsing the self-narrative of “good daughter” as she tries to protect herself for the first time. Must be able to improvise, comfortable with conveying emotions through physical expression (lots of understated dialogue/subtext in script) and has a throughline grounding presence for the range of vulnerabilities and moods (Nadia is interfacing with memory-based activations throughout the script, per CPTSD) that will be explored. LEAD
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Nadia
Hard Ayz
249 per day
Woman, Non-Binary Person
0 - 0
SAG-AFTRA, Short Film
Short Film
09/24/2025
249 per day
Woman, Non-Binary Person
0 - 0
SAG-AFTRA, Short Film
Short Film
09/24/2025
About the Job
Femme / Fluid (uses she / they pronouns). Indo-Guyanese-American lesbian and emerging DJ, is shapely and has a refined indie-sleaze look. Femme-identifying but fluid in presentation (read: more "dyke" than lesbian) she is externally witty (“has mouth,” as her mom says), observant, and guarded (a subtle toughness, in a NYC raised her way). Her DJ sets channels diasporic sounds, blending soca/chutney/dancehall and shoe gaze into tactile club experiences and transforms personal heritage into communal dance floors- her only way to stay connected with her mom and cultural roots, despite the harm her family has caused her. She is still accepting that she was sexually assaulted by her beloved uncle as a child – she has, to a degree, but feels like she cannot accept it fully until 1. Her mom does, and 2. her body moves the way she wants to - she believes this is the reason behind her other biggest shame: not knowing how to dance (or whine. She really doesn’t know how to do that). Is in real time collapsing the self-narrative of “good daughter” as she tries to protect herself for the first time. Must be able to improvise, comfortable with conveying emotions through physical expression (lots of understated dialogue/subtext in script) and has a throughline grounding presence for the range of vulnerabilities and moods (Nadia is interfacing with memory-based activations throughout the script, per CPTSD) that will be explored. LEAD
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