Written by Alina Rose Armstrong
Deana Taheri, an alumna of The Lee Strasberg Theatre & Film Institute, has received widespread attention for her striking short film, Bill. The dark comedy won Best Horror at the prestigious HollyShorts Film Festival, known for showcasing innovative and emerging talent. Deana brings a distinctive style and bold vision to her work, blending her unique global perspective with sharp technical skill.
Upbringing and Discovering the Arts
Deana’s life has been nothing short of an international journey. She grew up in the UK before moving to Qatar, where her parents — her father, an endocrinologist, and her mother, a nurse — were recruited by Cornell University to help address the health needs of the local population. Deana reflects that growing up in such a international environment gave her a broad perspective, deeply shaping her worldview and sense of identity.
Although her parents weren’t involved in the arts, they were incredibly supportive of her creative interests. She laughs, recalling how her parents enrolled her in both football and ballet at a young age. They realized immediately her true passion lay in the arts, claiming she would cry every time a football came near her.
Deana’s love for ballet progressed naturally toward theatre, and attending an American school in Qatar played a pivotal role in her artistic development. She notes that she likely wouldn’t have pursued theatre without the school’s celebration of diverse traditions and its focus on cultural exchange. This exposure to different mediums and methodologies opened her eyes to the transformative power of the arts.
From Qatar to NYU
A defining moment came when a drama teacher introduced Deana to NYU’s high school summer program. There, she attended New Studio on Broadway, NYU’s musical theatre studio, and immediately fell in love with the city’s energy.
The summer program was transformative, solidifying her commitment to the arts and setting her on the path to a career in theatre and filmmaking. When Deana applied to NYU, she approached it with an open mind, ready to embrace whatever studio placement came her way. It was there that she realized she wanted to focus her educational interests on theatre. Most importantly, it marked the first time in her life that she made the choice to move somewhere new entirely on her own terms — no longer following a path laid out by her parents, but forging her own.
Honing Her Craft at LSTFI
Deana was ultimately accepted into The Lee Strasberg Institute, the studio she had coincidentally developed an acute interest in during high school. She had even written an entire dissertation on The Method and its misconceptions in mainstream media. From the moment she entered the program, she fell in love with the depth of Lee Strasberg’s approach, dedicating three years to refining her craft. She credits The Institute with helping her discover not only the types of roles she can play, but also a deeper understanding of who she truly is as an artist.
For the first time in her life, Deana had teachers who recognized and nurtured her talent. One of these teachers, Geoffrey Horne, challenged her to move beyond the roles of older women and mothers that she had been gravitating toward, urging her to pursue ingenue parts. This advice helped her build confidence, and she began to see the new possibilities of roles she could play. Through this journey, Deana developed a profound sense of personal identity and vulnerability in her work, something she attributes to the supportive environment at The Institute.
Bad Behavior Lab
Deana spent her final year at NYU at Stonestreet Studios, which deepened her desire to explore film. However, she graduated in 2020, just as opportunities in the industry were drying up due to the pandemic. Undeterred, Deana turned to writing and creating her own material. Simultaneously, she worked under casting director Laura Stanzyk to gain valuable insight into the industry.
During this uncertain period, Deana and her peers from The Institute founded their own production company, Bad Behavior Lab, which developed five-minute-long pieces. The projects kept Deana creatively engaged and connected despite the challenges of COVID-19. Through Bad Behavior Lab, she produced her first film, Transplant, as well as an adaptation of Dante’s Inferno. These early projects not only gave her the space to practice her craft but also solidified her drive to create. As she jokes, she “couldn’t help but make something”, even when the world seemed at a standstill.
Bill: From Concept to Creation
In 2021, after returning to the UK when her visa expired, Deana became captivated by an idea. What would it mean for a woman to control a man’s body? The concept quickly evolved into the film Bill, and she knew immediately that she would play the leading role. Reflecting on the film’s themes, she credits her time at LSTFI with helping her explore the concept of control over one’s body. On set, Deana was able to apply The Method to her acting, diving deep into personal work. She did extensive preparation that allowed her to leave it all behind once the cameras were rolling, as the work was already subconsciously ingrained.
Despite a strong artistic toolbox, Deana soon realized that juggling writing, producing, directing, and acting all at once would be too much to handle alone. Emily Dhue, a longtime friend and member of Deana’s initial writers’ group, agreed to direct the project, flying over to the UK to collaborate.
Without wasting time, Deana shot the entire film in her kitchen. The team sourced talent from both Bristol and London, building an incredible network of collaborators who shared her passion and determination. This resourcefulness is truly reflective of Deana’s deep commitment to film as both an art form and a means of personal expression. Post-production on Bill quickly followed. Seamless collaboration across all aspects of the film brought the project to life with cohesion and energy.
Breaking Through and Building Momentum
Deana’s hard work paid off when Bill was selected for the prestigious HollyShorts Film Festival. The short ultimately won Best Horror in HollyShorts’ landmark 20th year. The film’s success is an undeniable testament not only to Deana’s talent, but to her relentless pursuit of creating art. Deana humbly reflects on how unexpected the experience was. She and Emily flew to Los Angeles for the first time, and the trip turned into a whirlwind of collaboration, networking, and conversations with fellow filmmakers — particularly other young, female-identifying creators. In fact, Deana is now part of a group chat with over 300 female filmmakers, where they share experiences and support one another in their creative journeys. HollyShorts was a truly transformative moment in her career, marking the beginning of a new chapter of opportunities and connections.
Now, Deana is in post-production on her directorial debut, A Boy Like Me, and remains steadfast in her commitment to exploring complex themes of identity. With her unique voice and dedication to her craft, Deana continues to push creative boundaries while staying true to her mission of creating personal, resonant work.
