/updates
Q&A with Daniel Bloom
“I was studying at film school at the time and felt frustrated with some projects. I was processing a break-up. There was a sense of being stuck, and subsequently a feeling of dislocation in my life. The first draft was written pretty much in a single moment, walking around in Jerusalem and finding the structure of the film.“
Q&A with Kennedy Kao
“This was Geraldine’s first time acting and I wanted to make her feel comfortable on set. Not only that, but I wanted to take things from her personal experiences and implement them in the film. So before shooting I sat down with Geraldine and we had a long conversation about her life as a Filipino working mother.“
Q&A with Grace Kim
“For this film, I stripped away any sense of a narrative plot, and just tried to capture that peculiar, intimate feeling of watching in on someone when they presume themselves to be alone. What idiosyncrasies and emotional details do we reveal about ourselves when we're by ourselves?”
Q&A with Peter Dolshun
“The making of this film happened very organically. Jessica and I had been wanting to work together for a long time until we finally were able to set a shoot date. We went into the day with a rough idea of what we wanted to capture but allowed ourselves to follow any random inspiration on set.”
Q&A with Lorenzo Benitez
“At the height of the pre-vaccine pandemic, I was crashing on his sofa as a guest for a few weeks, and found his efforts to balance his day job and 'night job' while confined to his room relatable and amusing.”
Q&A with Matthew Wade
“Maniac Landscapes came from a series of recurring dreams where I could hear crying, always very distant, always from a person I was never able to see, but always somehow close to me.”
Q&A with Amelia Spitler
“Ex Disposer is about Andy’s daily battle to better himself against massive odds. He consistently is reminded of the worst thing he’s ever done to someone close to him. He wants to fix what cannot be fixed. But he tries.”
The year-long creative process behind ‘Eyes at the Specter Glass’
“The sequences were looped through a series of digital filters I had created over and over, decaying each scene a bit more. This was heavily influenced by composer William Basinski’s The Disintegration Loops.“