Sundance Film Festival 2025
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“I Even Found Myself Taking Lines into My Personal Life”: Editor Berenice Chavez on Come See Me in the Good Light
In the latest documentary by Ryan White (Pamela, A Love Story; Ask Dr. Ruth), poets Andrea and Meg turn to their art to help them cope with Andrea’s cancer diagnosis. Come See Me in the Good Light will screen as part of the 2025 Sundance Film Festival’s Premieres section. Editor Berenice Chavez, who also edited Pamela, A Love Story returns to the cutting room for Come See Me in the Good Light. Below, she talks about finding her way into Andrea and Meg’s life despite not, at least initially, being a fan of poetry. See all responses to our annual Sundance editor interviews here. […]
by Filmmaker Staff on Jan 25, 2025 -
“The First Day We Got Our Four Leads in a Room Together” | James Griffiths, The Ballad of Wallis Island
Films are made over many days, but some days are more memorable, and important, than others. Imagine yourself in ten years looking back on this production. What day from your film’s development, production or post do you think you’ll view as the most significant and why? There were so many memorable days making the film—from our first meeting with producer Rupert Majende, who got behind the project and shifted the momentum, to Carey Mulligan saying yes to playing Nell that really led to us getting the film greenlit—but I think the day I’ll remember will be day seven, SC 29, […]
by Filmmaker Staff on Jan 25, 2025 -
“If You’re in the Room, Your Voice Matters”: Producer Shannon Moss on East of Wall
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“I Grew Up Playing Nintendo”: Albert Birney on OBEX
Albert Birney has been busy since 2020. On top of releasing 2022’s Eyeballs in the Darkness, a second feature in his series about a pair of 8-bit inspired animated best friends, Tux and Fanny, in, after releasing a video game incarnation of those characters the year before, and premiering his second collaboration with Kentucker Audley, Strawberry Mansion, Birney has now completed his first live-action film as a solo director. OBEX started its humble, black-and-white production with resources Birney had on hand: his house, his bulldog-chihuahua-pug mix (what he calls a “Bullchug”) Dorothy and his affinity for the ‘80s technology of […]
by Alex Lei on Jan 25, 2025 -
Sundance 2025: The Perfect Neighbor, Sly Lives
Stagnation (long-term) and change (imminent) hang over this year’s Sundance. In 2027, the festival will relocate to one of three finalist sites—potentially still a Salt Lake City/Park City split, with the balance of power now reversed between the latter and former, through the rumor vine says Cincinnati or Boulder are more likely. (Please, lord, deliver us unto the midwest or thereabouts.) A Variety article headlined “Sundance in Cincinnati? Hollywood Worries Film Festival Won’t Be the Same Without Park City” actually reports nothing of the sort; the voices regretting Sundance’s imminent departure to a less demanding altitude come from two Utah […]
by Vadim Rizov on Jan 24, 2025 -
“You Have to Create a Strong Duo”: Producer Dominique Barneaud on GEN_
Italian director Gianluca Matarrese centers his latest film on Dr. Bini, who oversees in vitro and gender-affirming care Milan’s Niguarda public hospital. Navigating complications put forth by the country’s conservative government as well as the commodification of healthcare, Dr. Bini never wavers in his mission to help his patients. First-time producer Dominique Barneaud discusses the difficulties of security Italian funding, his long-standing relationship with Matarrese and the importance of free speech among the film’s subjects. See all responses to our annual Sundance first-time producer interviews here. Filmmaker: How did you connect with this filmmaker and wind up producing the film? Barneaud: […]
by Filmmaker Staff on Jan 24, 2025 -
“A Delusional Burst of Confidence” | Mary Bronstein, If I Had Legs I’d Kick You
Films are made over many days, but some days are more memorable, and important, than others. Imagine yourself in ten years looking back on this production. What day from your film’s development, production or post do you think you’ll view as the most significant and why? From creating the title page to premiering at Sundance I’ve been on a rollercoaster of pure tenacity and support from those closest to me, lasting over seven years. The most significant day of the entire process has to be the night in December 2007 when I had an existential crisis that spewed forth a […]
by Filmmaker Staff on Jan 24, 2025 -
“I Sometimes Felt Like the Worst Partner in the World”: DP Clarke Gayford on Prime Minister
Prime Minister, premiering in the 2025 Sundance Film Festival’s World Cinema Documentary Competition, is co-director Lindsay Utz and Michelle Walshe’s behind-the-scenes look at Jacinda Ardern’s’s five years as the Prime Minister of New Zealand. Clarke Gayford, Ardern’s’s husband and a radio and TV broadcaster, also served as one of the film’s cinematographers. Below, he talks about the challenges of pulling double duty as both a DP and a supportive husband to a prime minister. See all responses to our annual Sundance cinematographer interviews here. Filmmaker: How and why did you wind up being the cinematographer of your film? What were the […]
by Filmmaker Staff on Jan 24, 2025 -
“Horror Films Have a Unique Ability to Tap into Deep Emotions”: DP Andreas Johannessen on Rabbit Trap
In Rabbit Trap, a musician and her husband find their outsider status in a remote Wales town amplified when their music brings to the door an unnamed child who will stop at nothing to weasel into their lives. Shot on 35mm, debut English-language feature by director Bryn Chainey will play as part of the Midnights section at the 2025 Sundance Film Festival. Andreas Johannessen, who served as camera operator on The Worst Person in the World and has acted as cinematographer on music videos by Jenny Hval, among others, also makes his feature debut as DP. Below, he goes into detail about […]
by Filmmaker Staff on Jan 24, 2025 -
“A New Way of Looking at the American West”: DP Austin Shelton on East of Wall
