CThis US-born and based independent film director, writer, and creative producer runs a full-service production company, CATALYZE HER. She is particularly passionate about diversity and inclusion. Her work has a strong focus on female-led film initiatives. Catherine directed two shorts, Fake Camping and Revere Beach: The Musical, in 2020 and 2022 respectively. Her debut feature Growing Pains, which this writer described as “a well-meaning film that sincerely cares about complex issues plaguing American life“, premiered earlier this year at the Boston International Film Festival.

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Joshua Polanski – What was the first impulse that led to Growing Pains?

Catherine Argyrople – I wanted to tell an authentic story about teenage girls and reflect my own experience as a childhood cancer survivor navigating life after trauma. I’ve rarely seen stories on screen that explore what happens after cancer – yet it’s something that touches nearly everyone in some way. I was craving raw, truthful stories about women, told from our perspective, and the chance to champion two unique narratives that intertwine. Originally, I envisioned Growing Pains as a TV series (and I still plan to make that happen), but creating a feature felt like an attainable goal I could accomplish with limited resources if I put my heart into it. I was pretty mind blown that you can live in the same town and go to the same school as your friends growing up, but each person will have a radically different life, coming-of-age, and experience in their own mind and body. It was important to me to tell two authentic, diverse stories that showcase some of these differing experiences with the through-line of female friendship.

JP – Can you please tell us about the genesis, the vision and the mission of your production company CATALYZE HER, and how that’s related to Growing Pains?

CA – CATALYZE HER is a female-led production company dedicated to authentic, diverse stories about women – always rooted in social advocacy, mission-driven stories and created by women. At first, it was simply a way to house the business side of Growing Pains, but I always knew it would evolve into something larger. My films explore themes like mental health, disability, gender equity in sports, identity, and coming-of-age– subjects I’ve lived through and want to portray honestly. I draw from my personal experiences while collaborating with a diverse team of women filmmakers and actors to create work that feels real and impactful. I grew up with a philanthropic influence, spending much of my free time fundraising and advocating for nonprofits. CATALYZE HER is my way of blending that mission-driven spirit with storytelling. I believe art is the most powerful medium—it can shift perspectives, save lives, and leave a lasting impact. Eventually, I hope to expand the company to collaborate with even more female filmmakers, uplifting their voices alongside mine.

JP – I think you can often learn a lot about the vision for a film by understanding the first collaborators that came to mind. Who was the first person you brought onto Growing Pains? What made them so integral to executing your vision?

CA – Love this question– I completely agree. The very first person was my good friend and former colleague, Lia-Lucine Cary. We met while working in art and film at The Island School, a sustainable school in The Bahamas, and she’s been a constant source of encouragement and inspiration ever since. When I shared my vision for Growing Pains, I knew she was the one who could help bring it to life. I asked her to come on as Assistant Director and Associate Producer. Lia believed in the project when many people thought it was impossible– or just plain crazy. She’s a gifted filmmaker with an incredible eye and a grounded, collaborative energy. Throughout production, she was my right hand and ultimate team player. I truly could not have made this film without her support and friendship.

JP – Zoe and Nat both have interesting family lives. And while things are complicated, there is always love in their house. This isn’t always the case with queer stories. Can you say more about this creative choice?

CA – That was something Mari Fabian, my co-writer, and I felt strongly about. We wanted to show that even in complicated households, there can be love, role models, and support. Both of us grew up with mothers and grandmothers who were those steady figures for us, and we wanted to reflect that truth. Those strong relationships shape identity in the most vulnerable, awkward years of coming-of-age. Having that kind of support system matters deeply, and we wanted to honor it on screen.

JP – A few people make some pretty mean choices, yet they never become villains or unredeemable. Was this intentional? Are you generally an optimistic person when it comes to the humanity of others?

CA – Yes, that was very intentional. I believe true “villains” are rare in real life. I’m an optimist at heart, even when things feel bleak. For characters like Dan or Sam, it was important to show that they’re still kids– making mistakes, dealing with insecurities, and learning the hard way. For instance, Dan represents a cautionary tale, especially around the subtle forms of sexual abuse that too many women face growing up. Even if someone doesn’t intend harm, their actions can deeply affect how someone sees themselves and navigates the world. For me, the film’s universal message is about empathy– you never truly know what someone else is carrying until you step into their shoes.

JP – Growing Pains touches on a lot of complex subjects: queerness and homophobia, peer pressure, emerging experiences with sex, body insecurity, and dying. What was your approach in the screenplay to balancing these themes and not letting one completely drown the others?

CA – It’s definitely a raw and heavy film, and the dual protagonist format added another layer of complexity. Mari and I wanted Zoe’s and Nat’s stories to feel balanced– each carrying weight without overshadowing the other. We were also mindful not to retraumatize the characters as too many of the stories about women and girls are traumatizing, oversexualized, or just plain inauthentic. With Zoe, it was about balancing her identity as a survivor with her early sexualization, while Nat’s arc explored homophobia in her family. These are difficult subjects, but they’re also universal pieces of adolescence. Our goal was to weave them together as part of the awkward, messy reality of coming-of-age, rather than isolate one theme as “the” story.

JP – I lived in Boston for several years, so I couldn’t help but find myself searching for locations I’d recognize in the New England setting. Was the river where they row the Charles? What was the experience of filming on a river like?

CA – I love that! No, we actually filmed on Lake Quinsigamond in Shrewsbury, with incredible support from St. Mark’s Prep School and Holy Cross College. Getting access to boats, water safety, and the logistics of filming on a river was definitely a challenge – but I felt strongly that rowing was essential to Zoe’s character as well as a commentary on the toxicity of student athletics and weight classes, so I pushed for it. Since I wasn’t a rower myself, I leaned on my friend Lars Babbott Ward, who came on as Rowing Safety & Logistics Coordinator. They ensured authenticity and safety, and I couldn’t have done it without them. Honestly, I loved being out on the water. It was peaceful, fun, and the rowing team kids we worked with were such troopers—they brought so much energy to those scenes.

JP – What was the most challenging aspect of the production?

CA – Balancing my dual role as director and lead producer. My heart is in writing and directing, but I produced out of necessity as this is a grassroots film. Handling budgets, logistics, and line producing alongside creative leadership was overwhelming at times. That said, it was the best film school that I could have asked for. I gained invaluable insight into the business side of getting a movie made, and those lessons will stay with me forever.

JP – What’s one thing you learned on this project that you hope to bring into your next project?

CA – Not to wear all the hats at once! As a writer-director, I’ve learned the importance of delegation and surrounding yourself with trusted collaborators who elevate the work. Filmmaking is such a collective art form, and finding your people is essential. I’m in love with this craft and committed for life, so I’ll keep learning with each project- but from here on out, I’ll focus on doing what I do best and letting others shine in their expertise.

JP – Growing Pains is your debut feature. What’s next for Catherine?

CA – I’m currently developing my second feature, The Ocean Calls Me, a coming-of-age surfing drama taking place in 1970s’ Florida. It follows a young woman who must win an all-male surfing competition to save her family after her father’s suicide, set in an era before women’s surfing competitions. The story was inspired by a personal loss I experienced to suicide, my healing journey, and my deep love for surfing. Right now, the film is on the shortlist for the Sundance Development Lab, which feels surreal. My dream is to see this project greenlit and brought to life soon.

JP – Thanks so much for taking the time to chat about Growing Pains, this has been a lovely interview!

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Catherine is pictured at the top of this interview. The other image is a still from Growing Pains.