UNSETTLE MEDIA

DISRUPT·DISTURB·DISMANTLE

MISSION STATEMENT

We create media that embraces decolonization and seeks to dismantle the cis-hetero-patriarchy through creativity, activism, and education. We must unsettle our colonial foundations and unsettle ourselves by disturbing what is comfortable, disrupting what is oppressive, and dismantling systems of privilege.
 
 
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KIDS

THESE

DAYS

ABOUT THE FILMMAKERS

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PRODUCER

RACHEL STRATMAN

Rachel Stratman is a film producer focusing her time on social activism and awareness through media. As Coordinating Producer for Stand Up To Cancer she produced several online videos and internationally-viewed Telethons that raised funds and promoted their scientific “Dream Teams,” in addition to assisting with nationwide commercial campaigns with MLB, MasterCard, and Safeway.

 

Rachel left Los Angeles for a year and a half to travel and create media for international non-profits. That trip inspired a deeper understanding and renewed attention towards deconstructing white supremacy and the cis heteropatriarchy that propts it up in not only the US, but worldwide.

 

Rachel loves to create and shape messaging for non-profits and social initiatives. She is dedicated to creating media that motivates the masses for awareness, fundraising, and action.

DIRECTOR

QUENTIN LAREAU

Quentin graduated from Columbia College Chicago with a degree in Film and Video Production with a concentration in Cinematography in 2007. He then worked in Los Angeles for ten years as a freelance Director of Photography shooting short films, music videos, web series, and branded content. In 2017 he decided to transition from solely shooting projects to also producing and directing them, and subsequently enrolled in UC Santa Cruz’s Social Documentation MFA.

 

He is applying his skills of storytelling through lighting and composition to the documentation of social injustice and specifically the institutions that perpetuate the oppression of marginalized peoples. His work challenges both the institutions and the viewer, and specifically calls into question the viewers’ responsibility and complicity through critiques of privilege.

 
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