First Time Go

Not a pop psychology show, but if it was, I'd explore more with my guest, writer and director Paula González-Nasser of the brilliant film THE SCOUT (2025), how she made her first feature about a job she didn't care for. I can't imagine a scenario where she was working as a location scout, and thought, this is my first feature film.And yet.THE SCOUT works brilliantly as a observational movie about the little seen lives of location scouts, even though their work has an outsized influence on the sets that you see in films. She captures all the little nuances of that life through wide shots and long takes. And she's here to share how she made it happen.Paula and I talk about:the theatrical premiere of THE SCOUT at the Film Forum -- including Q&As on September 25th and September 26th!how she responds to the criticism that the film is slow;how much of her location scouting experience for six years winds up in the film and when she realized the job was her debut feature;the shocking part that the film only worked for her when she stripped out her own personal experience;the unexpected setup required for wide, static, long takes and the incredible work by her DP;how she knew when it worked;why she kept her main character, played by Mimi Davila, away from the supporting cast;the process between its premiere and its theatrical debut;what's next for her.Memorable Quotes:" If the slowness is by design, I hope people can at least understand or appreciate the reasons behind it, even if they don't like it.""I'm so glad that it took me not doing the job anymore and having some distance away from it to really appreciate the job.""I don't think I would have said yes to dinner. That's where I draw the line.""I was very naive in thinking like, "Oh, I could just do these wide shots in the same amount of time." And it's like, no, it requires a lot of setup and lighting and timing and blocking.""This film should be observational almost in the same way that the scout is observing these spaces and the people within these spaces.""My style or my voice, I don't think has changed. If anything, I've really leaned into what I discovered about myself through this film."Links:THE SCOUT at the Film ForumFollow Paula On Instagram

My guest today, director Mylissa Fitzsimmons, previously released two features -- EVERYTHING IN THE END (2021) and THE LONG RUN (2025) -- and never got a premiere. She suffered from burnout of the excruciating process of making these brilliant films. And yet:here she is in 2026 with MACKENZIE (2026), opening at Film Fest Oldenburg this year. What does that say about perseverance? Resilience? A never quit attitude and the ability to keep going on even though this is really, really, fucking really hard?I think it says everything. I'm so motivated hearing her story and so excited for the journey of her new film and her renewed love of the art form.Hat tip to the best friend any indie filmmaker can have, Scott Monahan, for making this interview happen.In this episode, Mylissa and I talk about:why Oldenburg?how she's NEVER gotten an opportunity to have a full premiere for her films;what people should expect to see when watching MACKENZIE;why she waited till her third feature to tell her most personal story;the burnout she felt after her first two features;the incredible story in her film EVERYTHING IN THE END;directing actors to not really be actors in THE LONG RUN;where did the motif of running away comes from;the process of working with a non-professional actor as the star of MACKENZIE;why she has ambiguous endings in her films;what's next for her.Mylissa's Indie Film/Filmmaker Highlight: Frank Mosley in JACKRABBIT (2026); Leonora Pitts in I HATE MYSELF AND WANT TO DIE (2024) dir. by J. DavisMemorable Quotes:" So the baby is ready to walk, and we're gonna be there all as proud parents watching."" This kind of moment in childhood that we all have where we realize like the reality of the real world is seeping through the cracks of your childhood innocence and you are growing up."I don't want to have to worry about saying, "hey, I really want you to work on this, but it's a microbudget and I can't really pay you a lot," and then feel guilty and then have them not really be 100% committed."" When MACKENZIE came along, my only goal was like, "hey, I just wanna make a movie and have fun again.""I actually set out to make a movie about people who are lost."" I had worked with kids before, and I know it's like you don't really direct them, they direct you."Links:Follow Mylissa On Instagram

Expectations are good in a lot of ways. They hold us to a standard and promote accountability. But they can also be creatively limiting. For actor and executive producer Glen Steele of the film INFINITELY DENSE, who you heard in the intro, he took the shackles off the word expectation and made his art, giving the middle finger to age or any other perceived limitation.INFINITELY DENSE is having its market screening at the Toronto International Film Festival on September 16th, 2026. If you have the ability to go, you should. It's a near-realistic sci-fi look at what happens if a guy unhappy with his life experimented with augmented AI.I'm also joined by writer and director Ace Thor, who met Glen through his mom's acting class. This is an insane story of two people pushing the boundaries of independent film, both through the subject matter of their work and their overall art.And -- Ace Thor & Glen Steele should be in a cop buddy comedy, right? I'd love it, because it would be another opportunity to have them on the podcast.In this episode, Ace, Glen, and I talk about:how they describe the film;the many hats that independent filmmakers have to wear;the crazy story of how they ended up working together and how they got involved in filmmaking;the reality of acting in your 60s;making a scifi film that feels realistic and not having genre as the focus;casting for this film, why Ace watched every single tape, and why Glen kept his hands off the process;Glen's feelings on massive influencers taking over acting -- it's been happening for years in different forms;the process of a market screening at TIFF;should more actors get involved in making their own roles;advice for raising a family while acting and directing;what's next for them.Ace's Indie Filmmaker Highlight: Nicolas RoegMemorable Quotes:" It's more of a story of what happens when we are only in relationship with ourselves.""It's just like no matter what you try and do in my family, if you wanna do something else, it's just not possible."" No one's gonna hire me to be a lead in a movie at this point in my life."" I didn't want the sci-fi to be the focus, right?"" It's hard for the 64-year-old Glenn to tell a 25-year-old what to do because I wouldn't have listened to me when I was 25.Links:INFINITELY DENSE @ TIFFINFINITELY DENSE Website

Watch This Episode On YouTubeEvery Sunday, I'll post a quick video -- and podcast -- about an indie film from at least a year ago. Today's film: RYE LANE (2023)Director: Raine Allen MillerSYNOPSISTwo twenty-somethings reeling from bad breakups spend an eventful day wandering South London, helping each other face their nightmare exes and rediscovering the possibility of romance.Subscribe to our YouTube channelFollow us on LetterboxdFollow us on InstagramFollow us on XFollow us on FacebookFollow us on TikTokFollow us on LinkedIn

Watch This Episode On YouTubeWhen you normally see a series like HOW TO CHANGE THE WORLD, put together by my guest, filmmaker Dylan Mulick (and the team at World Within Studios), the tendency is to brush it off as do-gooders doing good things. Where is the conflict in that? A lot of great documentaries aren't seen because of these assumptions.Dylan turns the usual tropes of the series upside down in so many ways by going there: inner city Chicago; the Bahamas; wherever there is actual conflict for people who are looking to change our planet.The result is something altogether fresh: a ten part series, starting September 10th, 2026 that's shot cinematically and doesn't make you feel like you're watching an infomercial or about to see a Gofundme link roll across the screen. It's premiering on YouTube, it has the clout of Mark Cuban and others behind it, and the team's end goal is to launch a studio through their nonprofit.This is what the future looks like.Hat tip to David Goldblum for making this interview happen. If you haven't heard my conversation with him, it's a must-listen.In this episode, Dylan and I talk about:the layout of HOW TO CHANGE THE WORLD;the strategy of betting big on putting this series on YouTube;how he able to recruit high-level EPs like Chris Pratt and Mark Cuban for his projects;ENTOURAGE shout-out (it truly was a whole thing for dudes in the 2000s);the mentorship role he now takes on for people starting out in film;the lessons he took from his first feature documentary -- HELEN BELIEVE (2023) -- into this project;the story behind World Within Studios, which bills itself as " a nonprofit focused on tackling extreme wealth consolidation by investing in community-owned projects";what keeps him up at night regarding this huge risk;whether EPs matter anymore and why Mark Cuban is the perfect fit for this project;how cool it is when people post about their challenges in making films;what success looks like for this series.Memorable Quotes:" How to Change the World is a 10-episode documentary series that is essentially like Chef's Table for social entrepreneurs."" They're not the people that you often see in the headlines. And we believe what they're doing should be rewriting the definition of what a founder and a CEO should be. So we wanted to show them cinematically. We wanted to shoot them heroically."" Mentorship is so critical, and I think it's lost in today's Hollywood because the jobs are so competitive and the jobs are so few." These are all ideas that are probably pretty close to us, whether consciously or just like the mysterious stresses in our lives. But if you don't show a solution and then you don't take that solution and clearly communicate it to an audience, you can't build a movement, and ultimately World Within wants to build a movement from these ideas."" I don't know that [EPs] move the needle, unless of course they're the sole person on camera, right?"" The buyers are too reluctant nowadays, and I think quite honestly, like every famous person is pitching their own show."" And I'm trying to walk the walk of this idea of always trying to be failing, Links:Follow World Within Studios For The SeriesFollow Dylan On Instagram

One of the most fascinating things I've learned about in conducting interviews are how top awards can end up meaning -- nothing.Think back -- can you name who won the Oscar for best documentary short five years ago? Two years ago?So often, it doesn't show a noticeable trajectory change in the filmmakers' careers. That's not true of my guest today, Orlando von Einsiedel, whose film, THE CYCLE OF LOVE (2025) opened in New York on August 28th and later in September for the rest of the country, has continually built on his success through taking on larger projects.In the last 16 years, he's directed or produced at least 31 shows and series, an incredible workflow that speaks both to his work ethic and the value of awards (maybe?).It's hard to tell whether the latter part mattered. What we can say is his filmmaking is sincerely moving, and I'm so glad to see him tackle evermore ambitious topics like THE CYCLE OF LOVE.In this episode, Orlando and I talk about:he's won Oscars and opened at top festivals; is there's an achievement out there that he's aiming for in filmmaking?;his description of THE CYCLE OF LOVE;the decision to incorporate mostly reenactments into the film and where he drew the line between "how it feels" and what actually happened;how EVELYN (2018) helped make THE CYCLE OF LOVE happen the way it did;how he went from snowboarding into filmmakingthe ways in which awards enabled his climb and how documentary filmmakers should view them;the role of EPs for documentary filmmakers;the value proposition of his production company, Grain Media, and how he'll use crowdfunding if it's the path for a particular film;the theatrical prospects for this film and the landscape for documentary filmmakers;what's next for him.Memorable Quotes:" Every story, every film we make, I just want people, audiences to connect with it."" The challenge was there was very little archive footage from PK's journey, and and normally that is what kills a documentary in its tracks."" I don't think anyone should start a film project thinking about awards."" It doesn't matter how experienced you are, it doesn't matter how many awards you've won, every project needs a different path."Links:Follow Orlando On InstagramGrain Media's Website

Every Sunday, I'll post a quick video -- and podcast -- about an indie film from at least a year ago. Today's film: EVELYN (2018).Director: Orlando von EinsiedelSYNOPSISWhen a 22-year-old kills himself, his three siblings try to bury their pain. Ten years later, they go on a hiking trip and seek out the places he liked to walk in the English countryside, allowing them to contemplate their brother's life.Subscribe to our YouTube channelFollow us on LetterboxdFollow us on InstagramFollow us on XFollow us on FacebookFollow us on TikTokFollow us on LinkedIn

Watch This Episode On YouTubeIf you are staying up till 1030 pm to talk with me from Milan, Italy, well, I'm going to be grateful no matter what.But even better if your film is truly exceptional. My guest, Ang Geck Geck Priscilla, director of AH GIRL (2026), which premiered at Rotterdam and now screens at the Toronto International Film Festival next month, made a fantastic coming of age story from a child's perspective, cinematically. She wrote a semi-autobiographical story -- 70-80% true -- that her parents haven't even seen. And she's a Singaporean filmmaker making waves at huge festivals in ways that, if we're being blunt, we don't usually see.But she didn't want to play the comparison game; she doesn't care about all that. She wants to tell her own story. I'm absolutely here for it, and if you're at TIFF, you should be there, too. What a great talent in director Ang Geck Geck Priscilla.Ang and I talk about:how she describes the film and how much is true to life (70-80%);a coming of age story that she hasn't even shown her parents!;why she cast good looking people as her parents;shooting the film from a child's perspective;how she knew she'd become a filmmaker;why she cut the film to 99 minutes, including a wedding scene that I really want to see!;the genre of films that are tackling this coming of age, especially from an Asian perspective (e.g. LEFT-HANDED GIRL; A GIRL UNKNOWN);her thoughts on distribution;filmmaking in Singapore and the lack of theatrical opportunities;expectations coming out of screening at TIFF;what's next for her.Ang's Indie Film Highlights: WE ARE ALL STRANGERS (2026) dir. by Anthony Chen (a fellow Singaporean and also playing at TIFF); THE VIOLINIST (2026) dir. by Ervin Han & Raul GarciaMemorable Quotes:" The small part that is not real is actually the message that I want to tell my parents."" My producer would tell me about this film, and then they will start comparing. I honestly, I don't really care."" I'm really happy to be able to tell a Singapore story because I think as Singaporean, a lot of people always say we don't have our own identity."" I'm writing a psychological horror film next. I love horror."Links:Follow Ang Geck Geck Priscilla On InstagramFollow AH GIRL On Instagram

It always fascinates me when people with other artistic backgrounds settle on making films. They end up creating an art form that is noticeably different than their peers. My guest, Australian director Peter Skinner, spent five years as a sculptor, and then with the precision that art form requires, turned his focus into making astonishing films like his most recent, TWO UGLY PEOPLE (2025).It's a hard film to describe but a beautiful one to watch. The impetus for the story of TWO UGLY PEOPLE came in the form of a question: " how do I tell a story about two people who want be together, but the only way they can be together is by being strangers?" and Peter actualized that here, in a work worthy of a sculptor.In this episode, Peter and I talk about:the Letterboxd comment of " Peter Skinner is one of Australia's most exciting emerging filmmaking talents";how he got involved in filmmaking and the path of his classmates;sculpture's role in telling stories, directing, and cinematography;what he learned from making four shorts before his feature;how he describes TWO UGLY PEOPLE;the title!;the role of feedback for a film that is pushing boundaries of what people normally see on screen;the cinematography and production design of the film;how they found a space six hours away from Sydney;the festival and release strategy for the film -- and the crazy "pre-selection" process for Venice (is this common?!);the distribution process for the film;what's next for him.Peter's Indie Film Highlight: BABYTEETH (2019) dir. by Shannon MurphyMemorable Quotes:"I made figurative sculptures and that were based on myths and obviously very, narrative-based. But a sculpture is a, a physical object that sits in a space that if it's a static object, doesn't do anything other than sit there. So you have to tell a story as economically as possible, but also as much as you can in the static frame. So then when you look at filmmaking, filmmaking is just that 24 times a second over an hour and a half of a film." " Imagine you're a painter and you have to buy all the materials and you have to paint all the thing, and you've never painted a big painting before, but it's gonna cost you a million dollars, and then people have to really like it. It's almost a fool's errand.""I wanted to make a film I've never seen before."" It's like these places that hold every room is its own story, and I'm just telling you the story of these two people in these two rooms."Links:Follow Seymour Pictures On Instagram

Watch This Episode On YouTubeEvery Sunday, I'll post a quick video -- and podcast -- about an indie film from at least a year ago. Today's film: MOON (2009)Director: Duncan JonesCast: Sam Rockwell; Kevin Spacey; Dominique McElligott; Kaya ScodelarioSYNOPSISAstronaut Sam Bell's (Sam Rockwell) three-year shift at a lunar mine is finally coming to an end, and he's looking forward to his reunion with his wife (Dominique McElligott) and young daughter. Suddenly, Sam's health takes a drastic turn for the worse. He suffers painful headaches and hallucinations, and almost has a fatal accident. He meets what appears to be a younger version of himself, possibly a clone. With time running out, Sam must solve the mystery before the company crew arrives.Subscribe to our YouTube channelFollow us on LetterboxdFollow us on InstagramFollow us on XFollow us on FacebookFollow us on TikTokFollow us on LinkedIn

At the risk of sounding corny (and real in a world of AI slop podcast descriptions), let me add a fourth F: Ford. As in Tom Ford. No, not that one -- the cinematographer Tom Ford, who made my favorite film of the year absolutely shine through his work years ago.What do I mean by that? As we talk about, much of what I love about URCHINS is its lighting, and that came from enduring relationships that Tom built over the years that he brought on for this film. There's a huge lesson in that and Tom's career; you can have all the talent in the world, but if you aren't a team player, the big brands and great films won't call you.That's not this Tom Ford's problem. Just the opposite. Film Independent Spirit Awards, are you listening? URCHINS should win awards for its visually stunning canvas, and I'm so glad to be joined by the person who made it happen.Tom and I talk about:how he got to be such a great shooter for top brands and films like URCHINS;learning vs. innate understanding of cinematography;why he's been so successful working with brands like Nike and top fashion;how freeing it was to have a director that kept him separated from clients' demands;advice for people wanting to work with top brands;whether he wants to direct and how to properly manage that relationship;the general state of cinematography in independent film and how it relates to URCHINS;how a guy from the United Kingdom shoot a love letter to Florida;the importance of the team Tom Ford has assembled throughout the years;his favorite shot in the film;avoiding cliches in URCHINS;his advice for aspiring filmmakers;what's next for him;working on short films;where cinematographers can go wrong.Tom's Indie Film Highlight: SOME RAIN MUST FALL (2024) dir. by Qiu Yang Memorable Quotes:" Framing's always been more instinctive versus yeah, rule of thirds."" it's all about just building connections with other people who have an interest in that kind of work."" I grew up in a kinda small town in England where it has some similarities to Florida."" Adam also offered back ends to everyone."" Sometimes we can try and always show the face too much, and sometimes it's interesting to withhold a bit from the audience so they can put two and two together themselves or come up with their own meaning."" Yeah, I definitely wouldn't put loads of money into a short. I think it's worth doing a short as a proof of concept, but even if it's a proof of concept, you don't need everything to be perfect as long as the storytelling's good."" If it's just white walls and a camera, it's like you can have the nicest lenses in the world, but it's not gonna do as much for the story as a proper like decked out place."Links:Follow Tom On InstagramListen To Part One With URCHINS Director Adam Rioux

The story behind URCHINS (2026), a coming of age tale set in the waterways of Florida, distills what is best and what is worst about the modern state of independent film. URCHINS is a dazzling display of cinematography and storytelling at its most compelling: it shows Florida like you've never seen before and the story is told in a very unconventional way without the tropes of the genre.But: it never made it into a festival. Distributors wondered why it didn't cost more. A Black List critic gave its script a 4. The film doesn't fit neatly into the boxes of what people think will sell.Those people are wrong. The film has premiered to sold-out shows around the country; has a substantial social media following versus competitors; and resonates with people who actually watch it.So what we have with URCHINS is a fantastic prism for the state of the industry and even if I didn't love the film so much, it would make for a great podcast. I'll be back on Friday with my conversation with cinematographer Tom Ford, and just letting you know in advance, there might be other URCHINS episodes. It's that good.In this episode, Adam and I talk about:why we both love the film -- Adam says it's "his love letter to Florida";how he got involved in filmmaking;the ways in which his storytelling and resilience set him apart;breaking with screenwriting conventions for this film;the subtlety of the romance tropes in this film;the quick run time of 70 minutes;the insanely great lighting and cinematography of the film;his advice for filmmakers in developing a visual language like he did for Florida;casting for a coming-of-age story by himself;the financial aspects of making this film;the response from festivals for URCHINS;theaters v. streaming and whether you can do both;what's next for him.Adam's Indie Film Highlight: POOLS (2024) dir. by Sam HayesMemorable Quotes:" What sets it apart, especially in the coming-of-age genre, is that it does, like you were saying, subvert kind of the tropes of the genre and...not in an aggressive way, but in a way that to me felt very refreshing."" My parents were very much like pushing the standard path of get a good job, be able to pay the bills."" And he was like, "if you only make one film for the rest of your life, if you only get one chance to cash in on this, what is that film?" And at that point, it was just like it had to be URCHINS."" I hate being too heavy-handed, and that's maybe sometimes a criticism of my work is that sometimes it's a bit too subtle at times.""It doesn't really have the traditional, like beats in that way or structure, and that is why The Black List hated the script."" Sometimes people love a film just for a singular character, not even about what they did."" I remember early on in when I first started doing just video work, I realized I was like, I'm really good at movement and I'm really good at like kinetic energy in a project, but I never felt like I could do still frames."" It was the best moment of my life probably to just hear everybody just responding to these jokes and feeling the feels."Links:Follow Adam On InstagramFollow URCHINS On Instagram

Every Sunday, I'll post a quick video -- and podcast -- about an indie film from at least a year ago. Today's film: JIRO DREAMS OF SUSHI (2011)Director: David GelbCast: Jiro Ono; Masuhiro Yamamoto; Daisuke Nakazama; Harutaki TakahashiSYNOPSISA documentary about an octogenarian sushi master, his two sons, and the tiny restaurant in which they tirelessly work.Subscribe to our YouTube channelFollow us on LetterboxdFollow us on InstagramFollow us on XFollow us on FacebookFollow us on TikTokFollow us on LinkedIn

I talk to filmmakers all the time who say things like, I'm reviving the romcom. Or my film is a homage to 1950s Westerns. The statements encompass so many genres but the truth is, most of the time they don't work. It ends up being a facsimile of something great, which isn't good at all.This is a long way at getting to the point that NIMRODS, opening in theaters on August 14th, is the absolute real deal: a film that will remind you of the GOONIES, as my guest, director Lee Kirk hints at, without trying to remake it. It tells the story of three kids driving cross country to open for Green Day on New Year's Eve, and as you might imagine, complications ensue.I'm so excited to celebrate original art with a director who knows his classics.Lee and I talk about:how he was able to successfully bring back the feelings of 1990s/2000s road trip films;if non-Green Day fans will enjoy the film;how he got started in filmmaking;actors writing parts for themselves and if that's a way in;how new filmmakers can find their voice;what he's learned since his previous features;whether this ever was going to be a biopic and how he feels about the genre;the amazing casting in this film;how he ended up casting himself in the film;the festival strategy for the film and the decision to go theatrical;the luxury of avoiding social media;if being a playwright bleeds over to screenwriting.Memorable Quotes:"We started talking about the movies that we wanted it to feel like, right? So one of the big ones was "Goonies." We talked about "Goonies," but also movies like "Footloose" and "Vacation""It's a film about being a teenager and the struggles that go along with not having all the agency over your life, having these hopes and dreams and beliefs in yourself, and wanting to find something, wanting to build a life, but frustrated with what you got.""Every actor should be [writing their own scripts."" If you like Quentin Tarantino, make your version of "Pulp Fiction," and you're gonna find something in there about what you have to say.""Theatrical was always the goal."Links:Follow NIMRODS On Instagram

Watch This Episode On YouTubeEvery Sunday, I'll post a quick video -- and podcast -- about an indie film from at least a year ago. Today's film: OVERNIGHT (2003)Directors: Tony Montana; Mark Brian SmithCast: Troy Duffy; Harvey Weinstein; Chris BrinkerSYNOPSISThis documentary follows Troy Duffy, a brash, foul-mouthed bartender whose screenplay for an action film called "Boondock Saints" scores him a generous contract to write and direct the film for Harvey Weinstein at Miramax Studios. Duffy's band, the Brood, is also in the midst of signing a contract with Madonna's Maverick Records. Duffy's fiery manner is instrumental to his success, but when the deals go sour, no one seems safe from his explosive temper.Subscribe to our YouTube channelFollow us on LetterboxdFollow us on InstagramFollow us on XFollow us on FacebookFollow us on TikTokFollow us on LinkedIn

I'm always on the lookout for original filmmaking to highlight, so if you just look at the objective facts of my guest Yiru Deng's film, TUNNEL VISION (2026), which premiered at LA Shorts International Film Festival on August 4th, 2026, you'll be impressed:4 minute run time.Animation with just killer transitions that we find out were painful to draw.An excitingly original topic that is made to be shown on a screen.By itself, those are amazing. But then when you hear Yiru speak about what it meant for her mother. who is affected by vision loss, it takes the work so much higher, into the best possible use of what we call filmmaking. I feel so lucky to talk with her about her incredible journey.In this episode, Yiru and I talk about:what she wants people to know about the film;what kind of stories are best told through animation;how she got involved in filmmaking;what led her to apply for UCLA's MFA program and who she recommends for the program;the quick runtime and the unique choices she made for the film;why the LA Shorts Film Festival and Los Angeles for this film;what she's looking for in an animated film;what's next for her;the amazing transitions in this film and how she drew them.Yiru's Indie Film Highlight: DON JOSE (2023) dir. by Moshe Ben-Avraham; PILLOWZZZ (2025) dir. by Moshe Ben-AvrahamMemorable Quotes:"The film TUNNEL VISION is about womens' struggles under the expectations and the oppressive love in families."" I feel like if you have a strong passion in the thing that you wanna do and you feel like you have a clear story that you want to talk about, a clear message that you want to express, of course, go for it."" It was stunning to watch, but it was painful to draw."Links:Follow Yiru On InstagramYiru Deng's Website

Watch This Episode On YouTubeI couldn't stop laughing during the funniest film of the year, directed by my guest, Elliot Connors. It's called FULL FRONTAL, or if you want to use the full title (and you should), it's I’M GOING FULL FRONTAL FOR MY NYU STUDENT SHORT FILM (2026), streaming today, August 4th, 2026 on NoBudge.I'd argue getting laughs is the hardest thing to do in independent film so that's why comedies are so relatively rare. And to do it in a short film -- that's a tough sell.But Elliot has the, um, goods: He is a 2026 Just for Laughs “New Face” for his adult animated series OMNI, about a dystopian virtual reality and the group of lovable curmudgeons trying to change it. BA from Yale, MFA from NYU, just one watch of FULL FRONTAL, you'll see what I mean. It's so, so fucking funny.But seriously: not safe for work. I'm in early on the Elliot Connors rocket ship and can't wait to get to the Moon.Hat tip to the absolute best friend of the pod, Hope Lawson, for making this conversation happen.In this episode, Elliot and I talk about:the insane reaction at NoBudge 50 for this film;how he describes the film and the reaction for people after watching it;how he got involved in filmmaking;the difficulty of making comedy work on screen;the importance of trusted people on what's funny;handling intimate filming and how he made the case and crew feel comfortable;why NoBudge?what NYU's writing program feels about streaming vs. festival rollouts;watching a lot of stuff versus a new perspective;what's next for him;the challenges of getting comedy shows produced nowadays.Elliot's Indie Film Highlights: PAJARITO (2026) dir. by Pilar Garcia-Fernandezsesma; JEFFREY, BAD DAY (2025) dir. by Theo Matza; COUPLES THEFTAPY (2026) dir. by Kiran ArainMemorable Quotes:" Kentucker was saying, "We probably got a good 20 seconds of penis there." And I was joking that I'd used a prosthetic, so it wasn't my real penis, but it was my real penis. And there's plenty of it in the film."" I grew up watching, like binging comedy sitcoms."" If the jokes are working for you on the page, chances are it'll translate."" So I'm always getting notes on my features of "this is not quite working." But when I write a half-hour comedy, I get a lot more positive feedback because I feel like I know the rhythm more."" The director of my program, when I said, "should I really be studying screenwriting at such a tough time for the industry?" He said, "It's always tough."Links:Follow Elliot On InstagramElliot Connors Website

Watch This Episode On YouTubeEvery Sunday, I'll post a quick video -- and podcast -- about an indie film from at least a year ago. Today's film: RACHEL GETTING MARRIED (2008)Director: Jonathan DemmeScreenplay: Jenny LumetStars: Anne Hathaway; Rosemarie DeWitt; Bill Irwin; Debra WingerSYNOPSISA young woman who has been in and out of rehab for the past ten years returns home for the weekend for her sister's weddingSubscribe to our YouTube channelFollow us on LetterboxdFollow us on InstagramFollow us on XFollow us on FacebookFollow us on TikTokFollow us on LinkedIn

Watch This Episode On YouTubeThere's something especially New York about the sentiment of my guest, Anthony Argento, saying, "we're only going to give you what you give us" about film promotion.And in the best possible sense, that kind of New Yorker attitude is at the heart of the Greenpoint Film Festival, now celebrating its 15th year and 7th under the leadership of Mr. Argento, who started officially in 2020 but worked with the festival for a few years beforehand.The Greenpoint Film Festival first came on my radar last year when they accepted the literal second guest of the pod's film, SUNSET SOMEWHERE (2026), directed by Christopher Jarvis, and my interest only grew when I looked at their international, diverse lineup.With the organizing principle "unbound", Greenpoint is making its name as a festival for filmmakers by filmmakers, and I'm excited for it continuing under Anthony's leadership.Make your way to Greenpoint August 5th through the 9th; after listening to this episode, I think you'll realize why it's worth it.Anthony and I talk about:why should audience members and filmmakers attend the Greenpoint Film Festival;the theme of "unbound" and the lineup for the festival;what he's learned directing the festival for six (plus) years;how filmmakers should approach the film festival experience;the festival's place in NYC and nationally;social media's role in accepting films (do you check follower counts?) and what do you ask of filmmakers after accepting their film;what he's learned as a filmmaker running the festival and why he thinks it's important as a way to stay current;the future plans for the festival and what's next for him.Memorable Quotes:About running the festival during the pandemic: " I came up with the drive-in because we were able to be consolidated in their own cars, in their own bubbles, and everyone was safe and enjoying the the artworks, and we really made it happen, and I feel like that was a revolutionary step for us."" If you check on our socials, we're, posting individually for every project.""We're only going to give you what you give us."" I see this a lot...people...hold on to their film and always taking advice and always changing things up and trying to re-edit and that's the hole that you don't want to fall into."Links:Buy Tickets For the Greenpoint Film FestivalFollow Anthony On Instagram

Every Sunday, I'll post a quick video -- and podcast -- about an indie film from at least a year ago. Today's film: SHOT CALLER (2017)Director: Ric Roman WaughWritten By: Ric Roman WaughStars: Nikolaj Coster-Waldau; Omari Hardwick; Lake Bell; Jon BernthalSYNOPSISA California stockbroker is arrested and charged for a fatal DUI accident, and on his lawyer's advice, takes a plea deal which sees him sentenced to 16 months in prison. While incarcerated, he becomes involved with a violent white supremacist gang.Subscribe to our YouTube channelFollow us on LetterboxdFollow us on InstagramFollow us on XFollow us on FacebookFollow us on TikTokFollow us on LinkedIn

Director Zoe Zhou's film, WE ARE HAPPY FISH (2025), is described as "a nihilistic girl escapes from her family with a robot boy to revive a dead fish", which by itself is interesting and accurate. But it only nibbles at how wild, zany, carefree the film is. Zoe also pushes back at the idea that film school would ever take the edges off her work. In this film, she does an amazing job blending "surrealism, dark humor, and social commentary", as she states for her goal, and I'll be the first person in line to watch whatever is next.In this episode, Zoe and I talk about:was this the same basic story of when it started?why the Toronto Metropolitan University?were the interests of " blending surrealism, body horror, dark humor, and social commentary" shaped by film school?her philosophy on casting;why the Future of Film Showcase and why Toronto?;what's next for her and what draws her to bloody and horror.Zoe's Indie Film Highlight: WE ARE LITTLE ZOMBIES (2019) dir. by Makoto Nagahisa; AND SO WE PUT GOLDFISH IN THE POOL (2017)Memorable Quotes:" For my style, I usually make like very bloody or like Japanese cult kind of stuffs before this short film."" I think school always trying to protect the students from doing dangerous stuff, so I'm always kinda pushing the boundaries from the classes. Links:Follow Zoe On InstagramIMA Film student wins Best Film at MDFF Selects Student Showcase 2025

Watch This Episode On YouTubeDirector Will Niava's film, JAZZ INFERNAL (2025), is showing on July 23rd at the Future of Film Showcase in Toronto. If you're reading this before the date and can go, what are you waiting for? Buy tickets!It's that incredible, one of the best films I've seen all year. It won a Short Film Jury Award at Sundance last year and very deservedly so. Will is an Ivorian-Ghanaian film director and screenwriter based in Montreal, Quebec. And think about that sentence for a moment: there's few like it in the English language that conjures up that many cultural influences in 13 words. And the best way to describe Will's films is that he brings all of those together into pure artistry.If the interview feels short, blame me. The Future of Film press person asked, will 20 minutes be fine, and I stupidly said yes and regretted the decision fifteen seconds into the interview.On your next film, Will, I won't make that mistake again, trust me.In this episode, Will and I talk about:how he describes his award-winning Sundance film;its evolution from a lighthearted comedy to a love letter for his father;if the prestigious awards it earned changes his mind about making a short;how he got started in filmmaking;the concept of taste versus talent;what's next for him.Will's Indie Film/Filmmaker Highlight: PARADISE (2025) dir. by Jérémy Comte; MY FATHER'S SHADOW (2025) dir. by Akinola Davies Jr; Harley Francis; Zion Saffer; Samuel CaronMemorable Quotes:"[My wife told me] you have to talk about your grief. And my grief felt personal."" This is what a short film has done for me, so I can never recommend against it."Links:Follow Will On InstagramBuy Tickets For JAZZ INFERNAL at The Future Of Film Showcase

My guest, Hazel McKibbin, directs films that make top festivals. She edits films that make top festivals. And she makes commercials for brands at the Met Gala. And yet:Here's Hazel taking on a project about masculinity called LAST MAN UP (2026). Last episode, I praised writer and actor Robert R. Palmer for offering Hazel the opportunity to direct his project, so she deserves equal credit for taking it on. I could see a lesser director -- a lesser person -- saying no, but as she talks about in the episode, she saw it as an opportunity to expand her skillset.To say I wish there were more directors like Hazel is a bit of a non-descriptive statement: of course. What I mean by that is let's celebrate risk takers who leave their comfort zone of the material they are used to and take on somebody's project, or do something different.And if you're as talented as Hazel is, it'll work out beautifully.Hazel and I talk about:how she describes the film;why she decided to take on a story like this with a background in films "with a feminist lens";the reaction of other people when she took on this project;her entry into filmmaking and if starting out as an editor helps;the conversations she has with a director as an editor and vice versa now that she's directed several films;the increase in projects she's directed that were written by actors;what her wishes are for short films;why film school and why Columbia?her amazing Sundance experience;what's next for her.Hazel's Indie Film/Filmmaker Highlight: AU HASARD BALTHAZAR (1966) dir. by Robert Bresson; Joanna HoggMemorable Quotes:"It's a story about what it means to be the man of the house."" If you just leave it to an editor, and they fix it before they give it to you, I feel like you're missing an opportunity to to learn as a director.""I think actors as writers, they are so good at dialogue."" One of the things that especially I tell my students, [short films are] unity of time, place, and action."" Between commercials and narrative, there's not a lot of crossover."" I submitted it because you submit your first film to Sundance, you just do."Links:Follow Hazel On InstagramWatch DOUBLESPEAK (2021)

Watch This Episode On YouTubeEvery Sunday, I'll post a quick video -- and podcast -- about an indie film from at least a year ago. Today's film: LEFT-HANDED GIRL (2025)Director: Shih-Ching TsouWriters: Shih-Ching Tsou; Sean BakerStars: Janel Tsai; Shih-Yuan Ma; Nina YeSYNOPSISAfter a single mother and her two daughters return to Taipei to start anew, their fragile family dynamic is tested by debt and a dying patriarch. But when the traditional grandfather strictly forbids the youngest, left-handed granddaughter from using her 'devil hand,' generations of deep-seated family secrets begin to unravel.Subscribe to our YouTube channelFollow us on LetterboxdFollow us on InstagramFollow us on XFollow us on FacebookFollow us on TikTokFollow us on LinkedIn

This is a director's podcast, but the truth is I don't talk with enough actors on here about the struggle they face in indie film. It offers a different lens on how difficult it is to get things made. That's why I'm so happy to be joined by Robert R. Palmer, actor/writer in the film LAST MAN UP (2026), which premiered at the Palm Springs International ShortFest.When we talked about the plight of actors, and I went through the ways especially an LA-based person had to get ahead -- influencing; writing your own script for a great role; other social media activities -- the difficult challenge for actors right now is getting ahead....by actually acting!So Robert did something creative: he wrote a project that he could star in and then reached out to an ultra-talented director named Hazel McKibbin. (I'll talk to Hazel next episode.) It's both a show of humility and genius, and I cannot wait for you to hear his story.Robert and I talk about:how he describes the film;what it's like writing a role that you know -- as an actor -- you'll play;taking a story about masculinity and pitching it to a director who sees things through a feminist lens;how he got involved in filmmaking and how he wrote this project to get to the level of work he wanted to be at;what life is like as a young actor in LA;working with the director for the film and what he wishes directors knew about the acting life;what's next for him and why you should hire him for your next project.Memorable Quotes:"It's a tragedy, but a fun tragedy."On masculinity and feminism: " they're two sides of the same coin";"I'm an actor, first and foremost."" Being a young actor in LA, it's a grind. It's a hustle.""Actors want to be left alone."Links:Follow Robert On Instagram

Director Daniel Bogran made a film that could be spoiled with just a few words and it would change the entire dynamic of how you watch it. So I'm not going to do that. But the "how" behind him filming THE KILLING MOON ("A wealthy couple's lake vacation takes a sinister, seductive turn when an attractive stranger shows up wounded at their door") is definitely worth a conversation. It had its international premiere at Raindance in London this year.So is his short film LOW (2019), now streaming on YouTube. You'll see a few familiar actors on LOW, and how he was able to keep his crew together for over 6 years is certainly something we talk about.New Orleans, tropes in films like this, we talk about it all with Daniel for the pod.In this episode, Daniel and I discuss:how to prevent spoilers for a film with a big twist and the process of writing it;how he got into filmmaking through editing -- and New Orleans;what was the best way to stay in touch with a team as he moved from different projects seven years apart;how he stuck with this film even when producers wanted to put in other directors;are producers that blunt about taking a writer off their project?why Raindance and the social media plan for the film;thoughts on release strategy after a viral YouTube hit;the stereotypes of New Orleans;turning tropes on their head in a film and using misdirection;what the reaction to his film has been.Daniel's Indie Film Highlight: FALCON LAKE (2022) dir. by Charlotte Le BonMemorable Quotes:"[Editing] is something that's ... completely unique to filmmaking. Every other part of filmmaking comes from something else."" I think a lot of it is just developing almost like a secondhand language."" I personally like cliches and tropes because they are very potent. They have a lot of power in them and a lot of expectation that's built into them."Links:Follow THE KILLING MOON On Instagram

How many Gen Z filmmakers say, nah, the story I'm feeling is a middle aged undocumented Chinese immigrant cook worried about survival in America. And it's 23 minutes long. You'll hear in almost every professional film course or, ahem, podcast, short films are hard to make or make your film shorter for festivals. And that advice is right, of course.It's great advice. But it doesn't even begin to speak to what makes art and a singular vision special, and for my guest today, Taiwanese-American filmmaker Benny Chen, his vision is HAND (2026), which premiered at the Cleveland International Film Festival this year, and I'm here for it.Here for what's great about filmmakers like Benny. Understand the advice, and then if your vision calls for it, break it. It's the only way we got somewhere closer to the Holy Grail of independent filmmaking: authenticity. And that alone is the advice that can never be sacrificed.In this episode, Benny and I discuss:what it was like seeing HAND in a theater -- props to the Cleveland International Film Festival;his journey from Taiwan to filmmaking;what he means by finding the balance between Eastern and Western cinema;if he feels HAND connects the two and how he describes the film;the run time of 23 minutes;casting middle aged people as a young filmmaker;the benefits of making a short film for his team;what's next for him and what does being a Taiwanese-American filmmaker mean to him.Benny's Indie Film Highlight: WE WERE HERE (2026) dir. by Pranav BhasinLinks:Follow Benny On Instagram

Watch This Episode On YouTubeHappy third anniversary to the pod and I'm so happy to be spending it with Irish filmmaker -- and award-winning ad maker -- Gar O'Rourke.When people ask about the podcast, the usual first question is, what are your favorite episodes? And I respond with, well, they are all my favorites.It's true. I wouldn't publish something if I wasn't proud of it, and mainly because of audio or other host-related failures, there's been a handful you'll never get to hear.But it's also a bit of a dodge because I know what they are asking and of course I have favorite episodes. I can tell it as soon as we stop recording, and I'm guessing you can tell it, too. The anniversary episode always gets one of those.Gar's latest film, THE SIEGE OF PARADISE (2026) had its world premiere at the Tribeca Film Festival, and knowingly reaches for a higher form of filmmaking. A lesser director would have taken the subject of Cinque Terre on the Italian Riviera and made it into something mocking influencers and tourists in favor of the aphoristic locals.Gar is one of the best directors in independent film, so we don't have that problem here. What he gives you is a measured, gorgeously shot take on what it means to live in a place like Cinque Terre, either as a tourist or a local; it's a deeply moving film.It's screening in Galway soon for its Irish debut -- check it out if you can there -- or just look for Gar at a festival near you. Whether it's him or another Irish filmmaker, I promise it's the best way to spend your time.In this episode, Gar and I talk about:do Irish people want to hang around other Irish people at film festivals?!;his start in filmmaking;how his brand work (after we recorded this, his ad won a Grand Prix at Cannes Lions 2026) influences his filmmaking;THE SIEGE OF PARADISE;if he knew going in he would take such a balanced approach to the relationship between tourism and locals;if he screened the film for its subjects;what a documentary filmmaker owes his subjects;the absolute stunning shots in this film and where they came from (no drone footage!);what does Screen Ireland do right that other countries could follow (other than more funding);how he knows it's going to be a good festival experience -- or not;what's next for him.Memorable Quotes:" Irish people are the best people to hang out with at film festivals, or most dangerous people to hang out with at film festivals.""THE SIEGE OF PARADISE is like a holiday fever dream."" My life is probably the worst example to follow if you want to be a filmmaker."" I always had this helicopter intro that I wanted to do with the mayor."" In Ireland, it begins with the attitude around film. It begins with the attitude around this is something valuable."" Success in a European mind is...prestige or it's getting a great festival life. It doesn't need to have as much commercial and profit incentive."Links:Follow Gar On InstagramWatch THE PUB THAT REFUSED TO DIE Second Anniversary Pod: Nathaniel Lezra

I conclude Tribeca special coverage with one of my favorite films at the festival, CAITY (2026). To say Lindsay Calleran has been through some things to get her debut feature made is underselling it by a lot. Please read this First Person IndieWire article that Lindsay wrote; it gives a lot of important background to her story and how CAITY came to be.I'm so impressed by so many different things: the resiliency she showed in both losing her father and getting this film made; the journey to sobriety; having the guts to put it all out there for the world to see.Mostly, though, I'm impressed she made an absolute banger of a coming-of-age film. It has amazingly unique cinematography and an ending that you won't predict. It leaves you wanting to know more (and then feeling a little heartbroken after). That's great filmmaking.Lindsay and I discuss:the combination of a birthday, Tribeca premiere, and Father's Day when your debut feature is fictionalized version of your relationship with your father;how much real life influenced the final film;how she got into filmmaking;the unique touches of cinematography in this film;the incredible actors playing Caity and her father in this film, and somehow finding the chemistry between them;if casting directors are underrated in indie films;the EP/producer relationships for this film and the unique grant that made this film happen;why we don't see more films like this in festivals and theaters;what's next for her.Lindsay's Indie Film Highlight: LONG'S LONG LOST & MINI MART (2025) dir. by Julian DoanLinks:Follow Lindsay On Instagram

Watch This Episode On YouTubeWatch STRAIGHT TO HELL On Criterion ChannelEvery Sunday, I'll post a quick video -- and podcast -- about an indie film from at least a year ago. Today's film: STRAIGHT TO HELL (1987)Director: Alex CoxWriters: Dick Rude; Alex CoxStars: Joe Strummer; Dick Rude; Courtney LoveSYNOPSISThree bank robbers (Sy Richardson, Joe Strummer, Dick Rude) and a pregnant woman tear up a desert town.Subscribe to our YouTube channelFollow us on LetterboxdFollow us on InstagramFollow us on XFollow us on FacebookFollow us on TikTokFollow us on LinkedIn

It's one thing to say you're going to create the "Chinese lesbian version of BEFORE SUNRISE (1995)"; it's another thing to actually pull it off.In EPHEMERA (2026), the debut feature for filmmaker Shan Jiang which premiered at the 2026 Tribeca Film Festival, it appears she has done just that. It took global producers, a fantastic team, and a truly extraordinary story in how she found the actors, but the film will stand as wide shoulders for so many people and so many future projects.In this episode, we talk about:how she describes EPHEMERA and whether "unhurried" is an adjective she likes to describe the film;the incredible story of how she got involved in filmmaking;her storytelling philosophy, which has been described as " inhabit[ing] familiar narrative tropes and bends them from within to allow new perspectives to emerge" (an amazing quote);the global producers that made EPHEMERA and the concept of China as an entity reacting to a lesbian-focused film; what she took away from this experience for her next feature;finding the incredible actors in this film;what she learned from rehearsals with the actors in a film that is very dependent on them;her direction philosophy in this film and what she views as her job in regarding to structure;why Tribeca ("it's coming home for this film") and the Chinese film festival market;what's next for her.Shan Jiang's Indie Filmmaker Highlight: Celine Sciamma; Peter GreenwayLinks:Follow Shan JiangFollow EPHEMERA On Instagram

MON TAXI (2026), which premiered at the 2026 Tribeca Film Festival, is a "love letter to the filmmaker's dad." Architect + filmmaker Meriem Sakrouhi created a film that is part New York, part Moroccan, and altogether touching cinema, and we talk about how she did it for the podcast.Along with directing, she edited and produced the first Moroccan entry at Tribeca in 20 years. Given that she pitched a project at Cannes Docs this year and beautifully describes what Moroccan influence looks like, we shouldn't have to wait that long for another.In this episode, Meriem and I discuss:why Tribeca for this particular film;growing up in Morocco and how she got involved in filmmaking;how architecture informs her filmmaking;how she describes MON TAXI and what she wants viewers to feel -- "the film is about communication about my dad after he passed";editing, producing, shooting the film -- how did she make it all work?what is the Moroccan influence on the film?what's next for her and what she pitched at Cannes Docs.Meriem's Indie Film Highlight: BOUCHRA (2025) dir. by Orian Barki; Meriem BennaniLinks:Follow Meriem On InstagramMON TAXI Website

Watch This Episode On YouTubeEvery Sunday, I'll post a quick video -- and podcast -- about an indie film from at least a year ago. Today's film: LURKER (2025)Director: Alex RussellWriter: Alex RussellStars: Théodore Pellerin; Archie Madekwe; Havana Rose Liu;SYNOPSISA retail employee infiltrates the inner circle of an artist on the verge of stardom. As he gets closer to the budding music star, access and proximity become a matter of life and death.Subscribe to our YouTube channelFollow us on LetterboxdFollow us on InstagramFollow us on XFollow us on FacebookFollow us on TikTokFollow us on LinkedIn

The career path -- M.S. in Neuroscience to filmmaking -- is a wholly original one and so is his filmmaking. His second feature, PONDEROSA (2026), is a comedy-horror film that looks at American masculinity in a way I've never seen before. It is a gift to watch -- beginning to end -- not because I understood everything going on, but because I didn't.The best type of filmmaking should challenge you and make you think differently about the world around you. Mission accomplished here by Rob, with brilliant actors by his side. I'm texting my friend with a neuroscience degree, telling him to get on over to Tribeca and make a film!In this episode, Rob and I talk about:going from CRISPR engineer to filmmaking;how PONDEROSA came about and the trickiness of describing the film;what his experiences at prominent film festivals taught him;how he got some of the best actors out there -- Bill Camp; Alexis Bledel -- to work on his film;how he did the score and music FIRST and then edited accordingly;how he balances directing and producing;what's next for him.Rob's Indie Film Highlight: THE MISCONCEIVED (2026) dir. by James N. Kienitz WilkinsLinks:Follow Rob On Instagram

Very rarely, you'll watch a documentary, and think...how did he get that all on film? That was the case for me and the film MOUTH FULL OF GOLDS (2026) premiering this week at the Tribeca Film Festival. It's about "grillz" -- the teeth attachments/implants and their cultural connection in New York City, Miami, Atlanta, and Paris.If that description sounds incredible, that's because the film is incredible. Director Lyle Lindgren joins for me the pod and traces his history from car salesman to his first film festival here in New York City.Grillz or not, you'll want to be on this ride.In this episode, Lyle and I talk about:the insular community of "grillz" and how he was able to make this film;how did he get into filmmaking -- it's an absolutely crazy story ("I always thought I'd be a car salesman");what his previous films taught him about making MOUTH FULL OF GOLDS;his many jobs on this set -- what jobs did he like the most and least?how they casted for this film and their philosophy for re-enactments;why Tribeca and what New York City means to him;how he approaches going to the festival as a producer versus coming from a working class background to his first film festival!;what's next for him.Indie Artist Highlight: Pouria KhojastehpayLinks:Follow Lyle On InstagramMONOMANIA Production Company

The journey from Yugoslavia to New York City is a wild one, and filmmaker Branislav Jankic has been a keen observer along the way. Coming off a debut feature that was released at the height of COVID, Branislav is now at the 2026 Tribeca Film Festival with a story about his wife called WHITE BELT (2026). The film traces the journey of supermodel Monika "Jac" Jagaciak from the runway to Brazilian Jiu-Jitsu (BJJ). It's a tight, accomplished film that shows what he's learned about the process, and it was so cool for him to explain how he made such an exciting and personal film.In this episode, Branislav and I discuss:the tight runtime for this film and how he was able to condense so much into the film;how he got involved in filmmaking -- going from Yugoslavia, Germany, all the way to Tribeca;why he's able to tackle topics like " addiction, fetishism, and the complexities of identity";his debut feature, THE WITCH'S CAULDRON (2020), and what he learned from it;what WHITE BELT is about, in his words;why he didn't mention himself in the film and his advice for filming when you're married to the subject;why Tribeca and what's next for him.Links:Follow Monika On Instagram

Watch This Episode On YouTubeEvery Sunday, I'll post a quick video -- and podcast -- about an indie film from at least a year ago. Today's film: OUT OF LOVE (2025)Director: Nathan AmbrosioniWriter: Nathan AmbrosioniStars: Camille Cottin; Monia Chokri; Juliette ArmanetSYNOPSISA woman is forced to take care of her niece and nephew after their mother voluntarily disappears.Subscribe to our YouTube channelFollow us on LetterboxdFollow us on InstagramFollow us on XFollow us on FacebookFollow us on TikTokFollow us on LinkedIn

I'd argue the Pierre Angénieux Tribute is the best thing going at the Cannes Film Festival. Why? Two reasons:they elevate one filmmaker -- this year, it was Japanese cinematographer Akiko Ashizawa -- by way of tribute. If you haven't seen her work, now is your opportunity. But they don't stop there.they utilize the platform of that tribute to give a "special encouragement" to a young cinematographer. This year, it was my guest, Nguyễn Phan Linh Đan, who combines Vietnamese and French cultures to offer a new and fresh perspective on storytelling.Listen to both conversations and tell me this isn't truly amazing what Angénieux is doing at Cannes. May there be 100 more companies that follow their lead.In this episode, we talk about:the press release indicated that she "belongs to a new generation of Vietnamese filmmakers who seek to redefine the contours of a national cinema" -- what do those words mean to her?how she got involved in filmmaking and decide to be a cinematographer;how much cinematography can be taught?;her relationship with technology and cinematography;the amazing respect she has for Akiko Ashizawa;why there aren't more female cinematographers;what she's looking for when working with a director and whether she wants to direct;how she maintains her currency on her equipment.Indie Film Highlight: Akiko AshizawaLinks:Follow Linh Dan on InstagramMy Conversation With Akiko AshizawaPierre Angénieux Tribute

What an incredible honor to be joined by famed cinematographer Akiko Ashizawa, who was honored at the Cannes Film Festival with the 2026 Pierre Angénieux Tribute. We talk about her career, how she thought the tribute was spam!, females in cinematography, and more.The episode is recorded thanks to a translator.In this episode, Akiko and I discuss:how she found out about the Pierre Angénieux Tribute and thought it was spam!;how she got her start;what defines Japanese cinema and its visual style;her views on technology and cinematography;her mentors and her advice for young cinematographers like Nguyễn Phan Linh Đan;why there aren't more female cinematographers and whether it's improved since she started.Akiko's Indie Filmmaker Highlight: Shuichi Okita 沖田 修Links:2026 Pierre Angénieux TributeAkiko Ashizawa

We've seen the future of indie filmmaking the last few weeks with the theatrical runs of OBSESSION (2025) and BACKROOMS (2026).Let me argue that sometime in the future, we'll see a Sandbox VR or immersive experience film have that kind of launch. In this Cannes episode, I talk with senior vice president of content for Sandbox VR about what the future looks like for VR + immersive experience films.Given how many locations they already have, I'm confident Sandbox -- and Michael Hampden -- will be a part of it.In this episode, Michael and I talk about:what is Sandbox VR and his role at the company;how did he know he can not only play these games but write + direct them;what is the Curators Network and his participation in this year's event;his thoughts on the Immersive Experience films at Cannes and how it compares to Sandbox VR;the media landscape's coverage (or lack thereof) of these films;what unexpected things did he learn as part of the Curators Network;directors transitioning to Sandbox VR and what that experience is like;what's next for Sandbox VR.Link:Curators Network at CannesFollow Sandbox VR On Instagram

Watch This Episode On YouTubeEvery Sunday, I'll post a quick video -- and podcast -- about an indie film from at least a year ago. Today's film: FIRST GROWTH (2015)Director: Jérôme Le GrisWriters: Vanessa Portal; Rémi Bezançon; Jérôme Le GrisStars: Gérard Lanvin; Jalil Lespert; Alice TaglioniSYNOPSISCharlie must take over operation of his family's vineyard when it nears bankruptcy. He gambles on the farm's future by using traditional methods that went away with the introduction of new technology.Subscribe to our YouTube channelFollow us on LetterboxdFollow us on InstagramFollow us on XFollow us on FacebookFollow us on TikTokFollow us on LinkedIn

Why film in Peru? I stopped by a booth at Le Marche du Film at the Cannes Film Festival to talk about what they have to offer filmmakers. At the Cannes Film Festival, they have a market where most countries around the world are represented.I talked with Carlos Manuel Arca Hoyle, director of Promperú France, about why people should film in western South America.In this episode, Carlos and I discuss:why film in Peru?;what films people know that were filmed in Peru;the kind of clients in Peru;the most asked question at the festival.You can reach Carlos at [email protected]

It's a hard question for me to answer because I saw so many wonderful films, but people ask it -- what was your favorite at Cannes?And I answer it with THE STATION (2026) by Sara Ishaq, her fiction debut at the Cannes Film Festival.The film tells a story we hardly see in war films: what is happening with the families during a conflict. The characters are richly drawn from the amazing tapestry of Sara's life and she imbues it with such life that it will stay with you long after you walk out of the theater. What a bright star in independent filmmaking: Sara Ishaq.In this episode, Sarah and I discuss:what she'd like people to know about THE STATION;the events, especially 9/11, that led a Scottish-Yemeni student into filmmaking;how her triple majors at university (!) -- theology, Middle Eastern politics, law -- inform the film;what draws her to these tough topics;why she chose to focus on how war impacts families in this film.Links:Follow Sara On InstagramVariety's Review Of THE STATION

Today, I'm talking with Irish filmmaker Sophie Power, whose film WHATEVER A SUN WILL ALWAYS SING (2025), which was selected to screen at the Cannes Film Festival Short Film Corner - Cinema De Demain. The film is built entirely around recreations of four anonymous people answering the question: what was the moment you were forced to grow up?In some random order, I love hybrid documentaries; Irish filmmakers; people screening their films at Cannes and talking about it, which meant that I absolutely loved Sophie's film and talking with her about it.In this episode, Sophie and I discuss:her experimental hybrid documentary and how she blended four stories into a cohesive film;what the film says about documentary;how she got started in filmmaking;what can change systematically to help female directors and inviting more people to "grab coffee" as a way forward;her Cannes experience and what kind of advice she'd give a filmmaker attending for the first time.what's next for her and what it means to be an Irish filmmaker.Sophie's Indie Film Highlight: Andrew Thomas HuangLinks:Follow Sophie On Instagram

The people that filmmaker Ant Roberson inspires are legion: athletes looking to enter filmmaking; film school students heading to Cannes; actors inspired by meaty roles; filmmakers looking to make their feature breakthrough, and so many others.Add me to the list because I have zero doubt he'll be taking a film here to competition very shortly.In this episode, Ant and I discuss:what it's like having his film premiere at the Emerging Filmmaker Student Showcase at the Cannes Film Festival;what does he want people to know about his film;how he got his start in filmmaking;why there should be more athletes should get into filmmaking;the fascinating way he introduced the story and what it says about the horror genre;what crowdfunding was like for this film and how he followed his father's advice (which is universally great);why having a finished product is so important at the Cannes Film Festival and how he decided to balance his time;how he plans on beating a indie film system destined to make life difficult on filmmakers';how to follow along on his journey.Ant's Indie Film Highlight: Christian Kamaal (one of my all-time favorite episodes of the pod); Letia Solomon; Dante Bailey; Peter HorganLinks:Follow Ant On Instagram

Former pro footballer turned literature major and outstanding filmmaker, director Rostislav Kirpičenko brings brutal authenticity to his feature film debut, VESNA (2026), which premiered at the Cannes Film Festival.The film follows a Ukrainian priest who sees his church turned into a morgue in a Russian-occupied city, and he depicts Russians in a way we hardly ever see on screen but is an accurate telling based on dispatches from occupied areas of Ukraine.He brings a humanity to a conflict that desperate for any sense of warmth, and it is an important -- but difficult -- watch.In this episode, Rostislav and I talk about:how the film portrays the unseen world of occupied Ukraine;his amazing background that takes him from Eastern Europe to pro football to filmmaker;a particular scene in which he wrote a Russian commander as sober and sneering at soldiers committing war crimes;casting for a military film;what's next for him.Rostislav's Indie Filmmaker Highlight:Links:Follow Rostislav On InstagramVESNA (2026) at the Cannes Film Festival

From the opening scene of the brilliant film, GABIN (2026), which premiered at the Cannes Film Festival this year, it was clear you were in the hands of a master of the craft of documentary. And it's no wonder: director Maxence Voiseux and producer Élise Hug worked ten years to make this happen.How such brilliance wound up on a screen at Cannes is what I wanted to know from the filmmakers, and they were happy to share.What Maxence and Élise want you to know about the film;why it was made indistinguishably from a narrative film (really!) and what that means for the state of docs;the long ten year journey of getting GABIN made;what makes an "auter-driven" documentary and why GABIN is such a marvelous work from a director with a vision;how each got into documentary film;"distance is the core of documentary" -- how he made that statement happen for GABIN and advice for documentarians for their own films;producing a film for 10 years -- is that easier or harder than a shorter timeframe? -- and the challenges particularly in France;the role of the Cannes Film Festival in elevating documentaries and how to expand that ability to other directors;their strategy coming into the Cannes Film Festival;how people should follow when GABIN will be available.weighing how much directors have to participate on social media.Indie Film Highlight: LA DETENTION (2026) dir. by Guillaume MassartLinks:Lightdox's GABINVARIETY Review of GABIN (2026)

What's it like taking a film that's 70% finished to the Cannes Film Market? Filmmaker Alain Furcajg joins me today to talk about that very question and his insightful, beautiful -- and time-sensitive - documentary RETURN TO BRITTANY, which he is hoping to finish up in the coming year before the story becomes impossible to tell due to the age of the participants.(With a potential guest appearance by Tilda Swinton on a bicycle. We'll never know.)In this episode, we discuss:the story behind RETURN TO BRITTANY and what he's looking for at Cannes;why he's there with a 70% finished documentary and the feedback he's received so far;how he got involved in documentary filmmaking;what is it like pitching this project at the Cannes Market;is it easier to be French here?;his contrary view about European filmmaking and the difficulties in getting projects madeAlain's Indie Filmmaker Highlight: Ruben ÖstlundLinks:Watch The Trailer For RETURN TO BRITTANY Follow Alain On InstagramAF Films Website

A GIRL UNKNOWN (2026), which premiered at the Cannes Film Festival, succeeds on multiple levels: as a work of art about the struggle of life and the potential for rebirth; an eye-opening journey of a young girl trying to find her place in the world; a statement about the policies of China without falling into tired stereotypes; and ultimately, as a phenomenal film that challenges the viewer about how we should think of families, parenthood, and relationships.We talked about all of this for this exceptional episode of the podcast.In this episode, we talk about:how she made such a soulful film, through the prism of an ending that could have gone five different directions;why the topic of a young woman looking for her place in the world appeals to her and how this film builds off her award winning short LILI ALONE (2021);breaking away from the typical tropes of a Chinese filmmaker where one is either viewed as a government plant or a revolutionary;her strategy of bringing this film to Cannes;how she hopes to inspire future generations of female filmmakers.Links:Follow Zou Jing On InstagramWatch LILI ALONE (2021) ScreenDaily's Review Of A GIRL UNKNOWN

Watch This Episode On YouTubeIf you're looking to understand the business of film, let me suggest listening to Ben Fritz, who covers entertainment for the Wall Street Journal and is my guest for the podcast.Why? Well, for me, it's two things. First of all, if you listen to his astonishing documentary podcast called "With Great Power: The Rise of Superhero Cinema", you get to hear why he's such a successful journalist. An executive will offer a throwaway line, and Ben simply asks: why? You get something much closer to the truth from a one syllable question than one might expect.It happens throughout this podcast series from 2023, and it is a true masterclass on how interviews should be conducted.And two -- he's just straight with people. In this episode, we talk about an article he recently co-wrote on MUBI, the streaming service, and the money they've lost over the past year. In almost any other situation, the company doesn't participate, the article is branded a hit piece, and the audience is left wondering about the veracity of the story.Instead, MUBI's CEO is quoted in the article, which tells me the respect he gives the co-authors.Or maybe it's three: just listen to the insight Ben provides in this episode. If you go by the notion that the business offers an explanation of the films that show up on our screens, there's no better person than Ben Fritz.In this episode, Ben and I talk about:his preference for hosting a podcast or being a guest on one;his ability to tell a story evenly without looking for gotcha moments, which distinguishes his journalism;how he got started in filmmaking;what he expects out of the summer festival market;what he's learned between covering filmmaking to AI and back to filmmaking;the future of AI in filmmaking;the "$50 Movie Ticket Has Arrived" article and what it means for theaters;what that means for indie filmmakers;the behind the scenes story of his article, "How VC Money and Israel Outrage Derailed a Hot Hollywood Startup" about MUBI;what MUBI's business model portends for the industry;how production companies make money in such a competitive environment -- branding;why Silicon Valley doesn't invest more in Hollywood;what's next for him and how things have changed since 2019;Ben's Indie Film Highlights: PINK WALL (2019) dir. by Tom Cullen; COW (2021) dir. by Andrea ArnoldMemorable Quotes:"I try to make clear to people I'm not gonna pull any punches, but I'm also not here to try to get a gotcha moment.""I feel like it's becoming a lot like everything in the American economy, which is, it's a have and have-nots world."" What I realized quickly is if you understand the business, then you understand why you get the movies and TV shows that you get, right?"" So you could see more movies getting made, more original movies getting made, more people who don't have access to Disney and Netflix being able to raise a little bit of money and make an interesting movie on their own. So we could see this blossoming of creativity that maybe would rival what we saw in the 1970s."" The danger, which some people in Hollywood think, is the more movies become a premium experience where you spend a lot of money, the more it becomes something people think of as I only do this two or three times a year," " I think the I'm gonna get a specialty label or specialty company to buy it and put it in theaters is...that's like winning the lottery at this point."" The one promising thing in this world of indie film theatrical I've seen recently is you've seen some YouTubers put movies into theaters and find a niche audience."" I was able to connect to a source who was just close to Mubi, who was able to give me a lot of inside information on really what happened."" Mubi is a solid business. That's why Sequoia invested in them. It is a healthy business. They just made this huge mistake last year.""My teenage son knows what A24 is, and that name means something to him.""Sequoia's investment in Mubi was shocking to a lot of people. This is so outside the box for what they normally do. And the only other prominent example of VC investment in entertainment is A24, which definitely has some VC investment in it."Links:Ben Fritz's WSJ PageBen Fritz's Website