Sundance Responses
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“Last Year Made Me Want to Find Other Ways of Processing Their Meaning”: Director Theo Anthony | All Light Everywhere
How did events of 2020—any of them—change your film, either in the way you approached it, produced it, post-produced it, or are now thinking about it? The events of last year made me want to find other ways of processing their meaning—through getting to know my neighborhood, through local political action, through the satisfaction of hobbies that have nothing to do with film. (Check back daily during the festival — new answers are uploaded on the day of each film’s premiere. Read all the responses here.)
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“Firework Explosions Went Off During So Many Sleepless Nights Just as They Do in Our Film”: Director Karen Cinorre | Mayday
How did events of 2020—any of them—change your film, either in the way you approached it, produced it, post-produced it, or are now thinking about it? As I worked remotely with editor Nick Ramirez and composers Colin Stetson and Caroline Shaw, so much erupted around us. When the horrible COVID surge overtook New York City, we heard endless ambulance sirens while banging pots and pans every night at 7 p.m. to honor our frontline and essential workers. We were simultaneously swept up in the mobilization of Black Lives Matter. We marched, masks on, proud of our own city’s electrifying reaction […]
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“The Maltese Sun Was My First Lighting Tool”: DP Léo Lefèvre on Luzzu
Alex Camilleri’s Luzzu touts itself as one of the first 100% Maltese films. Starring fisherman Camilleri met during his time in Malta, the movie features non-actors in what could be mistaken for a documentary on Malta’s fishing industry and the ecological concerns therein. DP Léo Lefèvre tells us about his approach to filming inexperienced actors and what it was like filming on the water. Filmmaker: How and why did you wind up being the cinematographer of your film? What were the factors and attributes that led to your being hired for this job? Lefèvre: First, I was approached by the […]
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“Fatal Violence Against Black Americans Made Pauli’s Story Relevant in Ways We Wish it Weren’t”: Directors Betsy West and Julie Cohen | My Name is Pauli Murray
How did events of 2020—any of them—change your film, either in the way you approached it, produced it, post-produced it, or are now thinking about it? No question the events of 2020 changed the experience of making My Name is Pauli Murray in ways that will be familiar to other filmmakers: the rush to assemble makeshift home offices, the daily morning Zoom call, remote control shooting, and the unplanned budget line for COVID protocols. But beyond these complications, developments in 2020 have shifted and sharpened the way we’re thinking now about our documentary’s subject, Pauli Murray: a Black, gender nonconforming […]
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“I Promised I Wouldn’t Cut My Hair”: Director Amalia Ulman | El Planeta
How did events of 2020—any of them—change your film, either in the way you approached it, produced it, post-produced it, or are now thinking about it? In October 2019 Chen Zhou came over to Gijón to act but also help me shoot El Planeta. Back then I promised I wouldn’t cut my hair until I visited Shanghai again, because I was supposed to spend a month in China during March 2020. Of course, all those plans got cancelled. Now my hair is much longer than I expected and I truly miss my friend and collaborator Chen Zhou. But I also […]
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“The Studios Where We Edited Had to Close All of a Sudden”: Director Blerta Basholli | Hive
How did events of 2020—any of them—change your film, either in the way you approached it, produced it, post-produced it, or are now thinking about it? It mostly affected the post-production process. I was in Prague locking the film with editor Enis Saraci when the lockdown in March happened, so it was surreal. The studios where we edited had to close all of a sudden, we had to find a private studio which would not cost a lot and continue editing. My kids and my husband were in Kosova. I had 4 more days of editing to lock the picture […]
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“I Knew This Film Was Going to Be a Little Out There”: Editor James Crouch on The Blazing World
Carlson Young’s feature debut The Blazing World features the director as her own lead. Margaret has recurring nightmares hearkening back to the drowning of her sister when she was a child. On the brink of suicide, Margaret finds herself in an alternate world where her sister may yet live. Editor James Crouch discusses relying on simplicity on an otherwise complex movie and the editing choice that made Young cry. Filmmaker: How and why did you wind up being the editor of your film? What were the factors and attributes that led to your being hired for this job? Crouch: I met […]
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“There Is an Appropriate Numbness and Bareness to It”: DP Lauren Guiteras on Ma Belle, My Beauty
Marion Hill tackles uncharted territory with their polyamorous drama Ma Belle, My Beauty. After moving to rural France, Bertie (Idella Johnson) runs into her ex Lane (Hannah Pepper-Cunningham) who she was previously in a three person relationship with alongside Bertie’s husband Fred (Lucien Guignard). DP Lauren Guiteras walks us through how she captured naturalistic sensuality, the beauty of imperfect lighting, and how she grounded Ma Belle, My Beauty in the tangible world. Filmmaker: How and why did you wind up being the cinematographer of your film? What were the factors and attributes that led to your being hired for this job? Guiteras: I had […]
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“Maintaining a Respectful Distance”: DPs Sushmit Ghosh and Karan Thapliyal on Writing With Fire
Rintu Thomas and Sushmit Ghosh’s feature debut Writing With Fire painstakingly follows Khabar Lahariya, India’s only all-female news network, as they transition from print to digital and challenge the caste system every step of the way. Ghosh acts as co-DP alongside Karan Thlapliyal on the film. The two discuss maintaining a respectul distance from their subjects and the inclement climate conditions of their filming. Filmmaker: How and why did you wind up being the cinematographer of your film? What were the factors and attributes that led to your being hired for this job? Ghosh: When my codirector Rintu and I decided […]
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“Film as a Prayer”: Editors Jeanne Applegate and Dustin Waldman on Faya Dayi
Jessica Beshir’s feature debut Faya Dayi is all about khat, a plant native to Ethiopia harvested and known for its euphoric properties when chewed. On another level, the film is about khat’s cultural significance as a major cash crop, analyzing its role both economically, socially, and generationally. Editors Jeanne Applegate and Dustin Waldman share the fine line between crafting a visual drug trip and spiritual resonance, extracting meaning from beautiful images, and the liberatory aspect of editing a conceptual film. Filmmaker: How and why did you wind up being the editor of your film? What were the factors and attributes that led […]
