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A few factors significantly contributed to this. One was experiencing a number of films produced in New York City during the 60s and 70s that embodied very personal storytelling; subject, camera, space, individuals, creators. Such films include Shirley Clark’s Portrait of Jason, and a work by Jim McBride titled My Girlfriend’s Wedding, along with Chantal Akerman’s early pieces. Andy Warhol’s Poor Little Rich Girl, featuring Edie Sedgwick at the Chelsea Hotel, falls into this category. These films, although minimal in dialogue, spoke volumes. I observed in them a technique of ellipses that emerged either as the film rolled on or through transitions between interior and exterior shots. Those works granted me the liberty to introduce ellipses in ways that might not typically permit. That was incredibly liberating.
In the end, we rehearsed for a few weeks with stand-ins. And Alex Ashe, my director of photography, and I filmed these two characters in different locations at various times within the site. Suddenly, I encountered a realization that I was crafting a film that revolved more around portraiture than I had initially expected…. I recognized there was a narrative in photography within the film. This was gratifying, naturally due to the subject matter, but it also resonated with me because that’s part of my fascination with cinema: What sentiment does an image evoke independent of the narrative or text?
Where did you film this?
I was fortunate that a friend of mine had just become the executive director of Westbeth Artists Housing, and he considered the project aligned with Westbeth’s mission, which has supported artists since its establishment in 1971. Its goal is to foster and promote artists—their domestic existence and the creation of their art. We embodied that spirit, so he generously provided us with this space for a few months, at no cost. This opportunity allowed us to truly delve into the visuals we aimed to create with a level of freedom that isn’t often found in filmmaking. Merce Cunningham had his office in that building, and countless artists have been and continue to be a part of it. The echoes of former artists lingered in the building while we produced the film. That resonated strongly with me.
There’s a distinct energy in these last two films of yours, including Passages and this one, during a challenging period for independent filmmaking. I’m curious, from a broader perspective: How do you perceive your journey as an artist these days?
I feel as though I am making the most of the present. I consider myself lucky to have met and started collaborating with [producer] Saïd Ben Saïd, and we are currently developing a third feature together that we plan to shoot this summer in New York. Careers often appear to be shaped by circumstance or faith, but they’re frequently influenced by a select few individuals. Honestly, had Saïd not shown interest in my work about six or seven years ago, I’m not sure I could have maintained my trajectory.
In the wake of the pandemic—and this is also where I reflect on the artists from the East Village in the 70s and 80s—I feel it’s essential to take risks. We are all going to perish, so why not attempt it? My husband, Boris, occasionally reminds me of this when I become anxious about my ability to create: “If you don’t create it, it won’t exist.” That perspective propels me forward. I sense that I’m in a phase of progression. I continuously draw inspiration from individuals who were astute about the business or industry or art form, without being ravenous for it, and who discovered ways to craft work that is profoundly personal. That is the thread I strive to maintain. There’s also some benefit to aging: I feel like that’s the sole thread that captivates my interest.
This interview has been modified and shortened. This feature is part of Awards Insider’s exclusive Sundance 2025 coverage.
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