Nasty Girl Films is an initiative to develop and shoot stories that reflect the world, unvarnished. The controversial name is no accident. Google ‘Nasty Girl Films’ and you’ll unleash the most debased portraits of women the porn industry can conjure up. We’d like to change that conversation with some alternative films of our own. Movies about ordinary people, facing extraordinary challenges. Women and men. With their clothes on :).


The idea started with writer/director Audrey Arkins who began her career lecturing in Politics at Universities in Ireland where she was born. She made her first Documentary For Channel Four in the UK, profiling Irish Prime Minister, Garrett Fitzgerald. After relocating to the US, she wrote and produced science and wildlife documentaries filming in the Serengeti, the Great Barrier Reef, the Kalahari, the Himalayas and Madagascar.

As a feature screenwriter Audrey co-wrote Missing Brendan (2004) & Farewell (2009). She’s been hired to write multiple screenplays since including Inkotanyi – the story of the rebels who stopped the Rwandan Genocide and Zoya, the story of a ballet prodigy who beats formidable odds. She has two feature films in post production, both scheduled for release in 2020 – Overlook, which she wrote for Reel One Entertainment – and Elyse, which stars Sir Anthony Hopkins.

It was while filming at-risk youth moving in and out of the criminal justice system that Audrey was inspired to write and direct the short film American Boy – about a kid sabotaged by adult problems.

American_Boy from Audrey Arkins on Vimeo.

The short is the first step in a plan to one day direct the controversial feature script, Miss America. This story is in no small way inspired by the absurd political moment we find ourselves in. Power is now concentrated in the hands of mostly old men looking to roll back essential freedoms in women’s reproductive rights – rights that many of us believed we had won long ago. Despite a contentious debate that’s been raging for decades, what is missing is fair and proper scrutiny of abortion in popular film. Every other taboo subject has gotten its big screen close up – except this last one which is generally skirted around to avoid backlash. Whether the matter is looked at from a pro or anti-choice POV is not important. The issue is that the matter be addressed at all. The story Miss America pitches for the middle, depicting the intensely personal perspective of one girl confronted with the choice. How well she handles it is for the audience to decide – after they’ve had the chance to witness her story in context.