YOU CAN SAY VAGINA, a feature film.

A young women moves to a new city and finds herself describing vaginas for money, dancing with dogs, washing old men and falling apart. She’s fucked up and demanding answers.

Vagina Teaser




YOU CAN SAY VAGINA, a feature film written & directed by Mischa Baka and Siobhan Jackson. Starring Lucy Orr, Tom McCathie, Jesse Richards, Josh Price, Liza Dennis, Leah Landau and Jess Devereux.



Siobhan Jackson

Siobhan is a screenwriter and director lecturing at the University of Melbourne, Victorian College of the Art, School of Film & Television. She has recently completed her first feature film, You Can Say Vagina, (collaboratively devised and directed with Mischa Baka). Siobhan’s research and practice examines improvising for the screen, contemporary ‘silent’ cinema, alternative approaches to screenplay and performance generation and collaborative practice.




Mischa Baka

Mischa Baka is currently an MFA candidate at the University of Melbourne, Victorian College of the Arts, School of Film & Television. His research examines casual conversation and various therapeutic practices (Yoga, Narrative therapy, Authentic Movement) in an effort to develop a naturalist approach to writing and directing film dialogue. This research has had a particular focus on the analysis of casual conversations’ veiled ability to form and negotiate social contracts between groups and individuals.





Lucy Orr

Lucy has trained at the Melbourne Actors Lab since 2014 and more recently with Aleksi Vellis at The Film Space. Her most recent screen credits include the SIGNAL and Hunny Bunny Productions collaboration, ‘Julia Doesn’t Live Here Anymore’ and Phoebe Van Min’s ‘TRIO’. Her theatre work has included an immersive Othello adaptation, ‘Altar Girl’ created by VCA graduate Hannah Samuel and NIDA MFA (directing) student Alanah Guiry that was performed at Melbourne and Adelaide Fringe Festivals.  IMDB


Tom McCathie








Josh Price

A Melbourne based actor and maker, Josh has appeared in productions with Malthouse Theatre, Melbourne Theatre Company and Sydney Theatre Company.

A core member of The Daniel Schlusser Ensemble, for that company he has appeared in ‘The Dollhouse’, ‘M+M’ (Melbourne Festival) and ‘Menagerie’ (MTC Neon) among others.

He has spent the last two years on and off touring internationally in ‘Complexity of Belonging’ by Falk Richter and Anouk Van Dijk with Chunky Move.

His Television credits include ‘Molly’, ‘Underbelly: Infiltration’, ‘City Homicide’ and web series’ ‘The Greatest Love of All’ and ‘Donnatellegrams’ (ABC I-view)


Liza Dennis

melissa rose management






Jesse Richards

Writer, Director, DOP, Editor
Jesse is an RMIT and VCA  film and television graduate. His interests and awards in film include areas of writing, directing, editing and cinematography. He has been making films since the age of 8 in his primary school years creating terrible star trek parodies that include no humour whatsoever. Ever since he snuck into the lounge room after his parents went to bed just to watch the end of the Oscars after his bed time, he knew he was going to make films until his last day. IMDB

Jessica Devereux

Jessica Devereux was born in Kalgoorlie WA and studied dance at VCA, graduating with a Bachelor of Arts, Dance ‘04 and 1st class Honours ’08. Jess’ career spans performing, choreography, community engagement, teaching, writing and photography; having developed these areas of her practice at Tracks Dance Co as Animateur ’09-’14. Working closely with Artistic Directors Tim Newth & David McMicken, Jess collaborated on Tracks’ spectacular outdoor performances, ran long-term choreographic development and dance film projects, worked in remote Indigenous community Lajamanu (Milpirri) and taught contemporary dance classes to youth and seniors.

Leah Landau

is a Melbourne based dance artist who aligns herself with experimental dance forms, staging and outcomes. She received her formal dance training at Victorian College for the Arts after completing a Bachelor of Arts (Gender and Cultural Studies) at University of Melbourne. Leah most recently presented her work Summer Bone at PACT Dancendents Program in 2015. Summer Bone won Best Dance and Best Experimental Work supported by PACT at Melbourne Fringe 2014. She has also presented her solo work Young Woman Dancing(2013) at La Mama Theatre, Chief Inspector Mermaid at This Is Not Art Festival (Newcastle), and various solo pieces at Melbourne and Adelaide Fringe. Last year she performed in Chloe Chignell’s Towards Transparency (Arts House), collaborated with Lilian Steiner on a new dance, BUNKER (Good Time Studio, Nominated for Green Room Award for Spatial Design), worked with Natalie Abbott’s development LIMITLESS (Culture Lab) and performed in Amy Spier and Catherine Ryan’s No Public Space Only Public Order.



Waterfall Person:

Waterfall Person is a one person keyboard show, combining lyrics about magic and waterfall miracles with cool dance moves. Website


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YOU CAN SAY VAGINA won’t be playing at your local mega plex, but we hope that doesn’t stop the conversation.

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 11 reviews
love it

great film., very funny.

by Violet on You can say vagina
Intimate, beautiful and awkward

This film is beautifully shot and brings you up close with its characters in every way. It is refreshing and real and brings so much out of each actors performance I wonder if they felt almost naked even when wearing clothes.The film dwells in a sense of awkwardness for large stretches of time. I think awkward is a useful feeling for an audience for only so long. After a while I felt the need to shut down, tired from feeling awkward. Luckily there is relief, with some wonderful moments of humour and a sweet final scene resolution.While each character was convincing and real, I couldn't relate to the mother and daughter interactions. Even a manipulative mother would be more in tune with their daughter, even if only to further their hold over her.I also wondered about the lead female characters relationship to her flat mate. Was this resolved? Was he kind or taking advantage or both? What was the film trying to say about the older male and young woman dynamic? With the #metoo conversation in full swing raising these questions only to leave them open is a bit confusing, why raise them at all if so?This a valuable film, an ambitious film and again a very beautiful film. I think it's story tellers have the potential to go even further.

by Richard Williamson on You can say vagina
A film that knows how you feel

Sitting in the darkness watching the film’s final shot I stared into myself. The feelings evoked were uncanny. It was the back chamber of my mind watching cars on a highway. It was staring at cloud, wondering what I should do. This film tells a story of a searcher and as I watched her journey I saw echoes of myself. We hide how lost we often feel but the quiet, haziness of it is there under our skin. This film patiently walks that ground and shares space with a young dreamer. ‘You Can Say Vagina’ is a film that knows how you feel. The pacing is slow but assured. Improv is clearly used in performance and is both disarming and effective.

by Jordan on You can say vagina

I feel like it’s rare to see a film that manages to accomplish everything it set out to achieve, regardless of which end of the filmmaking spectrum it sits on - glossy, high-budget action franchises or experimental, independent fare - but YCSV does just this. It feels like it knows what it is, what it wants to be, and what it’s doing, every step of the way. Every scene holds some sort of joyful surprise, and every performance feels grounded and special and unique. An overall wonder.

by Alice on You can say vagina
Engaging exploration

I really enjoyed this movie, made rich with all of it’s oddities & eccentricities. It made me laugh out loud at many moments, whilst at other moments I sat quietly reflecting on the confusing transition into adulthood for a woman who has grown up with a mentally ill mother. For me, it explored mental health, poverty, boundaries, intimacy and sexual in- and disinhibition. In particular, the undies dance spoke to me about the performative nature that sex can take on, disappointingly unable to inspire the connection actually desired. Initially the film feels more like a compilation of interesting character vignettes - a small world of domestic comfort created by the protagonist, or perhaps a familiar reliving of her prior insulated life - but gains momentum to form a satisfying story arch. Great work Mischa & Siobhan!

by Rebekah Stuart on You can say vagina
Enchanting, raw and surprising!

A daring, refreshing and bold insight into the complexities of human emotion, awkwardness and yearning to belong and find self expression. I loved the feeling of being an intimate witness to a distilled pulsating presence of discomfort, joy and tenderness. The sound intensified this for me having its own body, with apt rhythms , timing and humour that the actors also brilliantly possessed. The absence of an external soundtrack heightened the poignancy of an unapologetic raw sound recalling true life, rather than opting for a sentimental manipulative soundtrack. You Can Say Vagina took me on a journey that met a reappearing precipice; unpredictable, everpresent and raw.

by Philippa Burne on You can say vagina
Raw, tender, hilarious.

A joy of a film. Such a great balance of comedy and tension. Filled with hope and longing. Raw, tender, hilarious. I loved this film and will be telling everyone to see it. Too few films deal with what it is to be human, and fragile and You Can Say Vagina does that and does it so well. Hoping to see it picked up in many, many festivals.

by Robert Stephenson on You can say vagina
Yes, you can say

This intimate comedy has many 'moving' parts. There's physical comedy, funny dialogue and, then there are parts that move on another emotional level making me feel enormous sympathy for the main characters and particularly Lucy/Ruby who has escaped, at least temporarily, from her unforgiving, truculent mother. She's looking for her own space to stretch and find confidence and friendship. The style is super fresh with sincere portrayals of people living out their quirks, their awkward moments showing their difficulty navigating battles with their their inner voices, desires and expectations to find their place the world - and the place is simply the here and now and adapting to, or being emboldened by, whatever it serves up. The direction uses a curious blend of close-ups and wider observational camera work and staging that can make me feel like I'm a passerby getting a peek into someone's world and at other times drawn into their more fragile moments like a confidant sitting next them. The big screen suits this style of film making. I prefer to watch this kind of film in a dark room with no distractions, to fall into its charm, rather than on my iPad at home being surrounded by interruptions and domestic racket. So, I hope it plays on some large screens for some time to come before it's on the whatever-Tube. The cast did a great job working with the inventive nature of the narrative. The performances of the main three were particularly impressive. I had no expectations and thoroughly enjoyed the humour and the honesty. I'm giving it 5 stars because I don't like to see one star left unpainted, dull and grey and looking lonely.

by Angie Black on You can say vagina
A rare and tender insight

Such beautiful tender performances, lovely languid cinematography and wonderful story of a young woman's sexual awakening. Just loved the way it crept under my skin and kept me on the edge of my seat. Yay Ruby, what a wonderful character. Good luck getting the film seen widely as it so rightly deserves.

by Nina Buxton on You can say vagina
Raw and moving storytelling

From the very first shot I was completely sucked in to the world of Lucy. I absolutely loved the editing, pacing, raw acting and the way the documentary filmmaking style that made me feel like I was a fly on the wall in a real person’s life. The lead actor Lucy was outstanding and made us laugh and cry through her honest and vulnerable acting in every moment. Would love to see the film played at festivals around the world as it captures a rare insight into ordinary yet unbelievable moments of life in modern Australia.

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