
Sundance 2025: Editor Interviews

Each year, Filmmaker sends all Sundance feature film or series editors a questionnaire to complete ahead of their film’s festival screening. We also send out a single question for feature directors to answer as well as questionnaires for cinematographers and first-time Sundance feature producers.
Below, find links to individual editor responses, which will be updated daily during the festival.
“Paring the Story Down to Its Bare Essentials”: Editor Joshua L. Pearson on Sly Lives
“It Was an Ambitious Project From the Get-go”: Editor Bryan Mason on Jimpa
“The Language of the Film Slowly Emerges in the Editing Room”: Editor Michal Reich on DJ Ahmet
“Amanda’s Approach is About Eclecticism”: Editor Benjamin Shearn on By Design
“Knowing How to Take Feedback Is an Art”: Editor Lev Lewis on Dead Lover
“The Power of Sounds, Spells, and the Sublime Unknown”: Editor Brett W. Bachman on Rabbit Trap
“I Am Always Mining for Gold in the Rushes”: Editor Fiona DeSouza on Brides
“Working With the Storyboard Was Crucial”: Editor Giorgia Villa on GEN_
“We Could Really Be Quite Merciless in the Edit”: Editor Jennifer Vecchiarello on East of Wall
“He Wanted To Share with People How To Embrace Death”: Editor Parker Laramie on André is an Idiot
“The Film and My Understanding of It Really Changed”: Editor Nicolas Chaudeurge on Sukkwan Island
“You Have to Give It the Love It Needs”: Editor Matthieu Bouchard on Two Women
“Each Set of Rushes Presents a Unique Puzzle”: Editor George Cragg on The Thing with Feathers
“Our Job Was To Create Two Movies”: Editor Brian Kates on Kiss of the Spider Woman
“The Best Collaborations Always Leave Me with Something New”: Editor Victoria Chalk on Third Act
“Narration is a Double-Edged Sword”: Editor Parker Laramie on Train Dreams
“Feedback Screenings Are Essential to the Process”: Editor Kayla Emter on Oh, Hi!
“A Process of Small but Important Adjustments”: Editor Anadi Athaley on Sabar Bonda (Cactus Pears)
“I Wanted to Make Sure the Energy of the Place Was Preserved”: Editor Chelsi Johnston on Sunfish
“Our Work is More Akin to Writing”: Editor Jeremy Stulberg on Move Ya Body: The Birth of House
“Connect Images in the Edit Based on an Analysis of Characters”: Editor Cooper Raiff on Hal & Harper
“What It Means to be a Human Straddling These Two Worlds”: Editor Nick Rondeau on Serious People
“I’d Waited My Whole Career for a Director To Ask Me To Do That”: Editor Shawn Paper, Love, Brooklyn
“The Story was Unfolding in Real Time”: Editor Emelie Mahdavian on Heightened Scrutiny
“Bringing Light to Darkness Does Motivate My Choice”: Editor Don Bernier, Life After
“It’s Wonderful to Aim for the Poetic”: Editor Julian Hart on Never Get Busted
“I’d Have Done This One on iMovie if They’d Asked Me To”: Editor Christopher Passig on Middletown
“Look at This Not as Reportage of an Event, But as a Metaphor”: Editor Yousef Jubeh on Khartoum
“Keep Working with the Psychology of the Characters”: Editor Linda Man on Sauna
“Any Type of Work Has Things to Teach”: Editor Geoffrey Boothby on Didn’t Die
“Loads of the Story Was Abstracted”: Editor Irfan Van Tuijl on Mad Bills to Pay