Basic Information
| Field | Detail |
|---|---|
| Name (as provided) | Verve Reposar |
| Born | May 10, 1999 |
| Occupation | Writer-director, producer, editor, actress |
| Education | College of the Ozarks — Video/Media Production & English (late 2010s–early 2020s) |
| Notable works | Apollo Boy (2022), short films and indie features |
| Family (immediate) | Mother: Shawnee Smith — Father: Jason Reposar — Half-sibling: Jakson Mattoon |
| Grandparents | Jim Smith & Patricia Smith |
| Social presence | Active on Instagram and Facebook; professional profiles on FilmFreeway / LinkedIn |
| Awards / Recognition | Student NATAS/Emmy recognition; multiple festival awards (college-level) |
A cinematic introduction — early life, numbers, and the family that shaped a filmmaker
I like to think of growing up as receiving a stack of unused film stock — blank, heavy with possibility — and Verve Reposar’s childhood reads like that: exposure to sets, a family tuned to performance, and an instinct for storytelling that arrived early and vocal. Born May 10, 1999, she is part of a lineage that already had narrative in its bones — her mother, Shawnee Smith, is a recognizable actress whose career includes television hits and a horror franchise that many know from late-night watercooler chatter; her father, Jason Reposar, was present in early biographies and credits as a photographer and creative collaborator. Two grandparents, Jim Smith and Patricia Smith, round out the family tree that the public sees — names that anchor a domestic history and, to Verve, a set of reference points.
If you map it numerically: a 1999 birth, college years across roughly four academic cycles in the late 2010s into the early 2020s, and by 2022 a credited title like Apollo Boy on festival posters — those are the milestones that trace the arc from student to festival filmmaker. I say “festival filmmaker” not as a pigeonhole but as a badge: the circuit — Q&As, late screenings, filmmaker spotlights — is where her work has accumulated recognition and sharpened its edges.
Family table — meet the people who orbit her projects
| Relation | Name | Short intro |
|---|---|---|
| Mother | Shawnee Smith | Veteran actress and musician — screen presence that taught a child the rhythm of cameras and cues. |
| Father | Jason Reposar | Photographer and creative partner in early life — one of the practical influences behind a visual sensibility. |
| Half-sibling | Jakson Mattoon | Sibling figure from the extended family narrative — part of the blended family dynamic. |
| Grandparents | Jim & Patricia Smith | Family elders — anchors for family lore, stories, and the Sunday-supper kind of support. |
I tell this as someone who likes the backstage stories: a mother whose career included sitcoms and genre cinema — yes, the kind of pop-culture touchstone that anchors millions of Google searches — means a home where theatricality is normal, not exceptional. That easy familiarity with performance gives Verve permission, early, to experiment in front of the camera and behind it.
Career in motion — films, festivals, and the craft of making
Verve’s trajectory reads like a deliberately shot montage — quick cuts between different roles: writer, director, producer, editor, actor. The credits list short films and indie features; one title that appears is Apollo Boy (2022), a film that circulated on the festival circuit and invited Q&A sessions where she spoke about process and influences. Numbers matter here: dozens of festival submissions, a handful of acceptances, and at least one NATAS student recognition that translates, on a résumé, to credibility in tight creative worlds.
Her practice is hybrid: she edits her own work, produces with small crews, and steps in front of the lens when a scene calls for authenticity. That multi-hat approach—wearing director, editor, producer, and actor like stacked scarves—speaks to both budget realities and a thirst to control texture and tone. If indie filmmaking is DIY, Verve treats DIY like design: intentional, stylized, and stubbornly cinematic.
Style, influences, and a few cinematic metaphors
If you asked me to put a label on her aesthetic I’d borrow a line from a film review: “an intimate widescreen.” Close, human moments framed with a compositional confidence that suggests someone who learned how to bend light and cadence early. She moves between intimate closeups and broader, almost theatrical staging — call it indie naturalism with an eye for composition. That comes from watching cameras on set, seeing how light struck a face, and learning the language of frame and pace.
Pop culture is not merely wallpaper for her work; it’s a toolkit. Growing up with a mother who appears in recognizable genre films means access — not to celebrity perks but to an informal apprenticeship in tone, timing, and the economics of making things that move people. The influence is less imitation than a seasoning: a dash of genre edge here, a pinch of grounded, human beats there.
Public presence — social rhythm and the festival trail
Verve uses Instagram and Facebook as project diaries: trailers, behind-the-scenes stills, festival posters, and the occasional moment that is simply domestic. The numbers are modest but engaged — the kind of following that turns up to midnight screenings and asks sharp questions in Q&As. FilmFreeway and LinkedIn round out the professional side: profiles that list credits, festival selections, and the kinds of technical competencies (editing, cinematography collaborations, production roles) that get you hired for indie shoots.
She’s not a tabloid name; she’s a name on a program, a voice on a panel, a credit that keeps accumulating. That kind of career moves in steps: student awards, festival nods, a growing reel, collaborations that multiply. Each festival acceptance is a small proof — a number you can count on a résumé. Each screening is a room where strangers meet the work and sometimes, afterward, tell you what the film meant to them.
FAQ
Who is Verve Reposar?
Verve Reposar is an American writer-director, producer, editor, and actress born May 10, 1999, known for short films and indie features and active on the festival circuit.
Who are her immediate family members?
Her immediate family includes mother Shawnee Smith, father Jason Reposar, and half-sibling Jakson Mattoon, with grandparents Jim and Patricia Smith anchoring the family tree.
What are her most notable projects?
Her credits include student and festival shorts and the indie title Apollo Boy (2022), alongside other short projects shown at regional festivals.
Has she received awards?
She has received student-level NATAS/Emmy recognition and multiple college/festival awards, reflecting early professional validation.
What is her public presence like?
She maintains active social accounts, professional profiles on platforms for filmmakers, and appears in festival Q&As and college press features.
Is there scandal or gossip about her?
Publicly, her mentions are professional — project announcements and festival coverage — and there’s no verified scandal attached to her name.
What does her filmmaking style feel like?
Her work reads as intimate but composed — natural performances framed with a cinematic eye, mixing quiet human beats with stylish framing.
Where did she study?
She studied video/media production and English at College of the Ozarks during the late 2010s into the early 2020s.
