In a cultural landscape still scarred by the divisiveness of the 2020 presidential election, filmmaker Erik Bork’s directorial debut, The Elephant in the Room, arrives as a timely comedic balm. Set in the tense days of December 2020, the film follows Leah, a progressive social media strategist played by Alyssa In Paris, as she sparks an unlikely romance with Vincent, a charming restaurant cook (Sean Clare) whose voting choices couldn’t be more opposed to hers. What ensues is a bumpy, laugh-out-loud journey through the minefield of political differences, questioning whether undeniable chemistry and shared human experiences can bridge even the widest ideological chasms.
Bork, speaking exclusively with Paul Salfen of AMFM Magazine, describes the project as a lighthearted exploration of a heavy topic. “What does it take for people to be able to come together and have a human relationship that’s respectful and possibly warm when you have opposing political views?” he muses. The film’s scripted comedy format allows it to delve into polarization without the weight of a documentary, aiming instead for disarmingly relatable moments that spark real conversation.
Casting was key to capturing that balance. Bork scouted extensively, drawn to In Paris’s viral comedy chops and “adorable” high-energy vibe, which he found endearing and versatile. “She’s done a lot of viral comedy videos, which I thought were hysterical, and she had a lot of range,” Bork explains. Clare, meanwhile, brought a handsome edge tempered by goofiness, making the pair’s on-screen attraction believable. “They just seem like they have a good chemistry together,” Bork notes, crediting their dynamic for elevating the film’s central conflict.
Shot entirely in one house—courtesy of friends who turned their home into a “summer camp” for the cast and crew—the production had an unusually playful atmosphere. “We managed to have a playful, warm vibe on set and get through the days pretty quickly,” Bork recalls, despite the typical indie hurdles like fundraising delays and wearing multiple hats. The result? A film that feels as fun to watch as it apparently was to make.
For Bork, a seasoned screenwriter making his helming debut, The Elephant in the Room represented a personal “Hail Mary” moment. Drawing inspiration from Steven Pressfield’s The War of Art, which he keeps on his shelf as a reminder to combat creative resistance, Bork pushed through self-doubt and rejections. “I just kind of burned the boats,” he says of committing to the project after years of unproduced scripts. His advice to aspiring storytellers? Persistence is paramount. “You’re going to get a lot of rejection, a lot of nos… You have to have a little bit of a suit of armor at the same time, an openness to what other people are saying.”
At its core, the film champions empathy over entrenchment. Bork hopes viewers from all political stripes will root for both characters, recognizing their authenticity and humanity. “I kind of want to see them work it out,” he says, envisioning audiences leaving with a fresh perspective on division. Screenings have already proven this, with post-viewing discussions spilling into personal anecdotes about estranged family members or colleagues. “It spurs conversation, maybe spurs self-examination,” Bork adds, emphasizing that acceptance doesn’t require abandoning one’s beliefs.
Looking ahead, Bork is developing an R-rated comedy about two brothers navigating life after their mother’s death—one a slacker, the other a wheelchair user—in a story worlds away from political satire but equally grounded in human connection.
The Elephant in the Room is now available to buy or rent on Amazon and other platforms. For more details, visit elephantintheroomfilm.com. In an era where division dominates headlines, Bork’s debut reminds us that laughter might just be the ultimate unifier.
