Ryan Rojas

Carol Polakoff Knows No Boundaries

Not many directors would make their directorial debut simply after hearing the book read aloud at a book reading, and fewer would decide to make a movie in a non-native language. However, Carol Polakoff did both with her feature film debut, Speak Sunlight. The film tells the life of American writer Alan Jolis as he awakens to a vivid, sensual world and grows up emotionally.

In our exclusive interview, Carol Polakoff discusses the inspiration behind making the film, the many challenges she faced along the way ("Children, animals, and historical period!"), and what the message that she hopes will endure: "Secrets and shame drag our spirits down, and transparency with those you love and who love you is hard to overcome, but the benefits are for a lifetime."

It’s a pleasure to meet you, Carol! What inspired you to create Speak Sunlight? Was there a specific event or moment that sparked the idea?

Carol Polakoff: Yes, very much so. 22 years ago, I met the author, who became a dear friend on the occasion of a book reading at a Paris bookstore. Within minutes, I was in tears. The story hit me so raw and powerful. I  never had such a reaction before (or since) at a book reading.

I made a vow many years ago that I would make this movie, not knowing it would be my directorial debut. A vow that was made as the very young (45) author was diagnosed with cancer and subsequently passed away. I promised him his life would be memorialized on the screen.

Memory and exile are central to the story. How did you explore these themes in the film, particularly in the scenes set in Spain and Paris?

Carol Polakoff: I think that is carried by the characters Maruja and Manolo. They have exiled themselves from a country they loved but did not love them back. Manolo fought in the resistance against Franco, and Maruja was running for more personal reasons She was ashamed about her actions during the war, i.e., getting out of her small town to Pamplona by “stealing” her sister's fiancee.

How did you collaborate with the cast to bring the nuances of these complex characters to life? Were there specific moments or performances that surprised you during filming?

Carol Polakoff: There are always surprises with great actors, and Carmen and Karra are legends and masters. There was a language barrier (my Spanish was way under par), so we had translators. But, it made the burden of great communication with our hearts and minds more important and rewarding. 

How did your process differ as a screenwriter from when you were directing the film? Were there moments during the writing phase that changed once you were on set? 

Carol Polakoff: Yes. I had the freedom to improvise and see what worked in real time. Actors often know best what feels authentic for them and their range, and writers should be flexible and not married to their own words. You take on actors to add a layer to the material, not reproduce it. 

Filmmaking is always a collaborative process. How did you work with your cinematographer, production designer, and other key team members to create the visual and emotional tone of the film?

Carol Polakoff: I had the best team in the world. The cinematographer and editor were my heroes, having made films with Almodovar, and they helped me more than I can say. The designers, both set and costume, were brilliant, and all of the above were suggested by my producer, who had worked with them on many productions, large and small.

Every film has its challenges. What were some of the biggest obstacles you faced during production, and how did you overcome them?

Carol Polakoff: The language! The pandemic. Fires in our locations and 110-degree weather. And the usual… first-time director, directing in a language other than her own… and the three cardinal rules for a first-timer: Children, animals, and historical period! Not to mention staging the bull run with our bulls and stunts.

What do you hope the audience takes away from the film? Is there a particular feeling or insight you want viewers to experience, especially about the themes of love, loss, and healing?

Carol Polakoff: Yes. I hope they see themselves in Alanito, Maruja, and Manolo and forgive the past and people so that the present and future can be as rich and rewarding as possible. Secrets and shame drag our spirits down, and transparency with those you love and who love you is hard to overcome, but the benefits are for a lifetime. Realize that the time you spend together creates future memories and is the currency you bank on when they are no longer here. Love and loss are part of life. Honor them. 

by Ryan Rojas

Zayn Alexandre Overcomes Oppression By Defying Limits

Growing up in a small town outside of Beirut, Lebanon, where he witnessed the cultural repression of women firsthand, filmmaker Zayn Alexandre has gone on to write and tell stories that celebrate humans overcoming oppression. His debut short film, the intimate sociopolitical drama Abroad, tells the story of a Lebanese immigrant couple. His second directorial effort, Manara, debuted during the 76th Venice Film Festival in the Giornate degli Autori section.

Now, Alexandre returns with his new film, Saint Rose. In our exclusive interview, the writer-director discusses how seeing the women in his life confined influenced the story, working with his mother on a personal experience, and how the film is about "the human desire for freedom and self-actualization."

What inspired you to create Saint Rose? Could you talk about the personal experiences that led to the creation of this story?

Zayn Alexandre: Saint Rose was inspired by the women I grew up around, who navigated societal norms and expectations by succumbing to them or through quiet defiance. Seeing my mother and other women in my life unable to reach their full potential because of roles imposed on them profoundly influenced me.

Life became a state of confinement for them, with moments of joy reduced to small, fleeting pockets of freedom they had to seek. My mother and sister, in particular, inspired me with their resilience and strength in the face of rigid norms. This project is deeply personal and rooted in what I witnessed growing up.

The film deals with control, oppression, and breaking free from societal expectations. How did you approach weaving these heavy themes into a short film?

Zayn Alexandre: I focused on telling an intimate and relatable story. Every detail, from the setting to the characters, was designed to subtly reflect these struggles. I wanted the themes to emerge organically through Rose’s daily life.

Much of the story lies in what’s not being said. I hope the audience can feel Rose’s sense of confinement through these nuances. I would describe the film as both subtle and restrained. 

The relationship between Rose and her housekeeper, Becky, is central to the film. How did you portray this relationship, and what did you want each character to represent?

Zayn Alexandre: Despite their different backgrounds, Rose and Becky are trapped by their circumstances. They are prisoners in their ways, shaped by societal expectations and personal struggles, and they’ve developed a mutually dependent relationship.

What might seem like a typical employer-employee dynamic reveals more profound similarities. Their shared sense of entrapment blurs the lines between wealth and privilege, creating a complex and deeply human bond between these women. 

You mentioned this film was a love letter to your mother and sister. How did working on such a profoundly personal project affect you emotionally throughout the filmmaking process?

Zayn Alexandre: Tapping into deeply personal issues, which are still ongoing, was very challenging. Working with my mother on a story so closely tied to our own experiences added another difficulty—I had to constantly navigate separating my role as “director” from my role as “son.” It was emotionally taxing for everyone.

The film features crucial roles played by non-professional actors. How did you approach working with them, and what challenges or advantages did that bring to the production?

Zayn Alexandre: Working with non-professional actors is challenging but rewarding. Intuition is a pretty powerful tool. Because the story was close to home to both actors, their performances came from a place of passion. Rehearsals were minimal.

It was important to create a safe environment where they felt comfortable and were not camera-conscious. Their performances needed to feel raw and genuine.

You mentioned using symmetrical and polished cinematography at the start of the film to represent Rose’s entrapment, which becomes more chaotic. How did you collaborate with your cinematographer to achieve this visual shift, and what was your intention behind it?

Zayn Alexandre: My cinematographer, Karim Kassem, and I intentionally used symmetry and rigidity in the film’s early scenes to amplify Rose’s controlled, stifling world. As the story unfolds, we opted for handheld movements and less polished framing to reflect her emotional unraveling and eventual chaos.

The film's tone shifts from severe to almost campy and satirical by the end. How did you balance these tones, and why did you choose to end the film in such a way?

Zayn Alexandre: Life is rarely one-note, and I wanted the film to reflect that. The tonal shift mirrors Rose’s breaking point. By leaning into the satire, I aimed to highlight the situation's absurdity and life in general.

Rose’s relationship with alcohol, particularly her secret consumption of vodka, is a significant element in the film. What does alcohol represent in the context of her emotional journey, and how did you want audiences to interpret her use of it?

Zayn Alexandre: Alcohol is both a form of rebellion and escape. It’s Rose’s secret act of defiance in a life otherwise dictated by control and appearances. At the same time, it’s a coping mechanism, a way to numb herself to her reality. 

Finally, what do you hope audiences will take away from Saint Rose? Is there a specific emotion or thought you want them to leave the theater with after watching Rose’s story unfold?

Zayn Alexandre: I hope audiences leave with empathy and reflection. Rose’s journey is deeply personal but universal. It’s about the human desire for freedom and self-actualization. I want whoever sees the film to question the societal structures that limit us and feel inspired by the resilience of the many women in their lives.

by Ryan Rojas

Ben Tan and Alexis Felix Capture Raw Emotions of Teenage Life

Congratulations to you, Ben, on your short film, DOG, which tells the story of a 19-year-old girl taking her blind younger sister to a rave, only for chaos to ensue. In your director's statement, you say how you spent your adolescent years in Los Angeles, “Chasing moments of ecstasy. Arriving at despair.” What inspired you to tell this story?

Ben Tan: I wanted to capture my anxieties growing up and confronting adulthood. The LA rave scene exposes you to new things that might be dangerous, but as a teenager, I was always drawn to danger because it was rebellious and offered an escape from normalcy.

But the dread starts to creep back in when you’re back home lying in bed. Parents never fully know what’s going on in their kids' lives, and the secrets we keep are painful.

Ben, what was your creative process for writing the script and the character of Summer? When did you first meet Alexis and know she was the one for the role?

BT: Alexis and I met in high school. A single mother raised her, and she has a sister. We both shared a love for electronic music and had rebellious childhoods.

When I started writing, I made location and casting decisions early because I knew that if Alexis played Summer, I could cast her real mom and shoot at her childhood home. This made writing natural because I wrote with actors and locations in mind.

Alexis, what were your first thoughts while reading the part of Summer in the script? What was the most alluring part of the character, and what were you most excited to bring to the performance?

Alexis Felix: I knew Ben was in the works of writing this script, and initially, it was a story with two brothers. One day, he came home from work, told me he changed some things, and asked if I wanted to read it. My face lit up when I started reading the script about two sisters. I immediately knew I could play Summer. The character resonated with me a lot because I had grown up as a younger sister with a single mom in my own life.

I always wondered what being our family's older sister would be like, which allowed me to explore that. Summer’s mom in DOG is my mom in real life. I was so excited to share the movie-making magic with her and show her all the hard work I had been doing behind the scenes. 

Ben, the film looks beautiful and distinct, with its black-and-white photography and 4:3 aspect ratio. How did you decide upon this look for this story?

BT: I chose a narrow aspect ratio to emphasize teenagers' claustrophobia when surrounded by family and friends but needing an escape. Black and white was an aesthetic that had character motivation. Lex is blind, so she’s missing a sense. Stripping away the color helps the audience see through her perspective. It also adds to the theme of growing up and the dark cloud of angst that looms over our heads.

Alexis, can you talk about your creative process with Ben on set? What challenges did you face in this rave-set film?

AF: Ben and I have very similar tastes, so working with him creatively was fun. I loved that he gave all the actors on the set free range to be themselves and creatively mold the characters as they imagined them to be. He’s the writer and director of the project; however, he was interested in seeing how we all perceived the characters that he wrote.

As for challenges, I think everything ran very smoothly. Because we were on a time crunch, we only had 2-3 takes per scene, so we all had to be on our game.

Ben, can you share any challenges you faced during production, especially when shooting in a rave environment?

BT: We filmed the rave throughout an overnight shoot. A dozen or more friends donated their time to be background actors. We weren’t supposed to have fog at the location, but the lasers and strobes didn’t pick up in the camera without it. We ended up triggering the fire alarm three times. The third time, a squad of firefighters came to set, and they told us that if the alarm were triggered again, they’d shut our production down.

Luckily, the fog stayed in place, and we could finish those scenes. There was a moment in the night when I thought it was over and we’d have to scrap everything. Without the rave scenes, there would be no film.

How do you think the film speaks to the universal experience of growing up and the struggles that come with it?

BT: DOG is set in a specific time and place. Growing up, I watched films like Larry Clark’s Kids or Catherine Hardwicke’s Thirteen. Both of these films highlight a particular subculture, making them believable.

They’re time capsules, and those films make me feel understood. No matter where you are in the world, the struggles of a teenager are universal.

AF: Morality plays a huge part in becoming an adult. As a teenager, you constantly make decisions and choose right from wrong. Whether dealing with peer pressure, navigating the people you choose to hang out with, or the situations they can put you in. As much as our parents try to teach us right from wrong, teenagers must go through life experiences to determine the consequences for themselves.

It’s like when you were a toddler, and your mom tells you not to touch the fire because it’s hot, but you do it anyway. We instinctively need to experience something to learn. I think this film does an excellent job of exploring that.

What are your hopes for DOG's future and how it might impact discussions around youth culture and coming of age?

BT: I’m always interested in coming-of-age stories that are specific and illuminate the subcultures we cultivate as teenagers. I’d love to see more of that.

AF: I hope people can see DOG and that it sparks a discussion of morality and the decisions we make as teenagers. 

by Ryan Rojas

Muneeb Hassan Shines A Light On Closeted Love

Many people view being closeted as entirely negative. Still, filmmaker Muneeb Hassan sees it in a different light—one that is often shaped by the relationships and cultural expectations of others. In his new short film All the Men I Met But Never Dated, Hassan explores how the decision to remain closeted can express love, particularly toward more traditional family or community values. "I wanted to capture the nuance that, for many, the closet can serve as a safe space rather than just a place of oppression—a perspective often overlooked in the Western world."

Read on to learn how Hassan brought this delicate subject to life, from portraying complex emotions to casting his two lead actors. He also discusses the unique challenges of being an independent filmmaker and what he hopes viewers take away from the film. "I hope viewers leave with a deeper empathy for those navigating similar paths and a greater appreciation for the courage it takes to honor oneself, even when doing so requires balancing cultural expectations."

Follow All the Men I Met But Never Dated on Instagram for more updates.

All the Men I Met But Never Dated is inspired by the unspoken experiences of closeted Gay Muslims. What motivated you to pursue this story, and how did you envision bringing it to life on screen?

Muneeb Hassan: The motivation for this story came from the need to shed light on a reality that is often hidden and misunderstood—the unspoken experiences of closeted gay Muslims who navigate the complexities of identity, faith, and family expectations. I wanted to capture the nuance that, for many, the closet can be a safe space rather than purely a place of oppression, a perspective often overlooked in the Western world. For many men, Muslim or not, the closet represents a complex balance of identity and safety.

Interestingly, after a screening, some audience members from Fort Worth, Texas—even self-identified cowboys—shared that they saw themselves in this story and felt validated by its message. Hearing that it’s okay to date someone in the closet and that this experience can be relatable across diverse backgrounds reinforced my vision. I aimed to bring this story to life with subtle, intimate visuals and restrained dialogue, capturing these journeys' vulnerability, resilience, and quiet strength.

Your film explores the complexities of love, identity, and familial duty. How did you balance these themes while developing the script?

MH: Balancing these themes was essential because they’re deeply intertwined for many people, especially those who feel divided between personal identity and family expectations. David Stokes, my co-writer, and I wanted to show that love, identity, and duty aren’t mutually exclusive but parts of a complex reality for someone like Ali. We worked to weave them naturally into Ali’s story so his decisions and conflicts would feel genuine and universally relatable, even if the specifics are unique to his experience.

David Stokes: Muneeb wrote the first draft, and I took over the writing from that point and did all of the subsequent drafts. As the story was pretty much there, my job was to rewrite Muneeb's script to make it flow better, rewrite all of the dialogue so that it felt more realistic and authentic to the characters as well as some narrative changes that sped up the script and made sure that we always got to the heart of the scene and the emotions the characters were trying to convey.

Dialogue plays a significant role in your film. How did you approach writing those conversations to convey the characters' emotions?

MH: Dialogue is powerful, especially when exploring things that are left unsaid. For Ali and Oliver, we wanted conversations that were raw and honest but also reflective of the hesitation and fear that comes with vulnerability. I approached the dialogue by focusing on subtext—sometimes, it’s what the characters avoid saying that reveals the most about their emotions. Writing these moments was about balancing tension and intimacy to bring the audience closer to their inner worlds.

What challenges did you face in portraying Ali's internal struggles, especially regarding his decision to stay in the closet?

MH: Portraying Ali’s internal conflict was challenging because it’s a silent struggle that many people, especially from conservative backgrounds, can relate to but rarely express openly. It was about capturing his moments of isolation, self-doubt, and reflection without making them feel overly dramatic.

We relied on small visual cues and body language to communicate his tension, and I worked closely with Ahmed to capture the weight of these unspoken battles in his performance. Ahmed also brought his struggle into the character as a journalist and actor; he spoke not about his struggles but represented every single gay Muslim who prefers to live in a closet. 

What qualities did you look for in Ahmed Shihab-Eldin and Jared P-Smith, the actors who portray Ali and Oliver, and how did you find the right fit for their roles?

MH: I was looking for actors who could embody the emotional complexity of their roles with authenticity. Ahmed’s real-life experiences and empathy made him a perfect fit for Ali; he understood the character’s depth and struggle.

With Jared, I needed someone who could bring warmth and openness to the role of Oliver—a character who contrasts with Ali’s guarded nature. The chemistry between Ahmed and Jared was essential, and their dynamic truly brought the relationship to life.

Can you talk about working with Cinematographer Nicholas Pietroniro on the visual style you wanted to evoke? And what did your editor, Wyatt Smith provide?

MH: Nicholas and I wanted to create a visual style that reflected Ali’s internal state—soft, intimate, and sometimes isolated. We used muted tones and close framing to evoke a sense of closeness and introspection.

Wyatt Smith, ACE, our editor, brought an incredible sensitivity to the project. His precision in pacing and transitions helped amplify the emotional undercurrents without overstating them. He understood the rhythm needed to convey Ali’s journey subtly but powerfully.

As an indie filmmaker, what unique challenges did you encounter during production, and how did you navigate them?

MH: Indie filmmaking is always a balancing act between vision and resources, and with our modest budget, every decision had to be incredibly intentional. We had only 1.5 days to shoot—one day in Cold Spring and half a day in New York City—so time constraints were a significant challenge.

We focused on meticulous pre-planning to make the most of every moment on set. I had a shortlist and storyboards ready. The passion and commitment of our cast and crew were essential; everyone was fully invested in telling this story, and that collective dedication allowed us to overcome our limitations.

How has this film influenced your perspective on your own identity and the stories you want to tell in the future?

MH: Creating this film has been an incredibly profound journey that’s challenged and reshaped my understanding of my identity. In exploring Ali’s character, I reflected deeply on my experiences, the intricacies of cultural expectations, and what it means to navigate the space between personal truth and family loyalty.

It’s awakened a stronger desire in me to tell stories that don’t just entertain but also illuminate the unseen struggles and resilience within underrepresented communities. I’m more driven than ever to bring forth narratives that honor the complexities of identity, belonging, and strength—stories that break down stereotypes and give voice to often overlooked experiences.

What do you want the audience to take away from Ali’s journey and his choices regarding his relationship with Oliver?

MH: I want the audience to understand that Ali’s challenging choices are rooted in love and a deep sense of duty. His story isn’t one of rejection or shame but rather a complex balance between personal happiness and familial loyalty, a theme that resonates across cultures.

I hope viewers leave with a deeper empathy for those navigating similar paths and an appreciation for the courage it takes to honor oneself, even when it means balancing cultural expectations. Ali’s journey shows that self-acceptance and family loyalty don’t have to be mutually exclusive—they are intertwined in ways that deserve compassion and respect.

by Ryan Rojas

Victor Fraga Busts The Myth of Balance In Media

In this exclusive interview, Fraga—also the founder of indie film publication Dirty Movies—shares insights into his new project, which collaborates with social realist filmmaker Ken Loach and former Labour leader Jeremy Corbyn. He also delves into his unyielding commitment to challenging the myth of "balance" in the British media. "It’s tragic," he asserts, "that the same shocking manipulation and censorship tactics I witnessed in Brazil are now rampant in the UK, the US, and other so-called 'developed' nations. Perhaps we're not as developed as we like to think."

It’s a pleasure to meet you, Victor! What inspired you to create The Bad Patriots, and what personal connections do you have to its topics?

Victor Fraga: I had previously made a film about media manipulation and censorship in Brazil, my birth nation. It was called The Coup d’Etat Factory. So, this topic has been close to my heart for a long time. After my film was finished, I realized that—contrary to belief—the UK is not quite a role model of media balance and democracy. The manipulation techniques are far more sophisticated here.

I first met Jeremy in 2016, when he was the Leader of the Labour Party, and I was campaigning against the coup that removed President Dilma Rousseff in Brazil. Jeremy has a close and personal association with Latin America, consistently visiting the continent and campaigning for international solidarity. His wife Laura is Mexican. He identified himself with my film so much that we did four or five panels together and became very close. I interviewed Ken three times in the past, and he, too, knew my work. So Jeremy and I insisted that he join the untitled The Bad Patriots.

You’ve mentioned witnessing the collapse of democracy in Brazil and the mainstream media's role in that process. How has this experience shaped your understanding of media's influence in the UK, particularly regarding figures like Ken Loach and Jeremy Corbyn?

VF: I have left Brazil, yet Brazil has never left me. I feel a duty towards both countries, where I was born and raised, and where I have resided for roughly a quarter of a century. These two films resulted from my activist and artistic commitment to both nations.

My experience with both countries is constant; one does not come after the other. I am intimately and consistently connected with both. I think I’m well-informed and have connections to influential personalities on both sides of the Atlantic, so I can comment on and compare the two countries.  

Your films often explore themes of character assassination and censorship. How do you think the narratives around Loach and Corbyn serve as a microcosm of broader societal issues regarding free speech and dissent?

VF: Loach and Corbyn are much more vulnerable than the average citizen because they are well-known. Corbyn points out in the film that it’s much easier to attack individuals than ideas. The average British person might suffer micro gestures of censorship or perhaps even lose their job due to their political inclinations (in more extreme cases).

Very few people are subject to character assassination, defamation, and lawfare to the same extent as Ken and Jeremy, particularly the latter. The attacks are so fierce that despite being such outspoken and courageous people, they, too, have to self-censor on occasion. Freedom of speech is but an illusion. 

Can you explain the central thesis of the documentary? What myths are you aiming to bust?

VF: The film's central thesis is that the British media are highly biased and hostile to voices vaguely critical of capitalism and the establishment. The UK is a very conservative country. I’m a pacifist, and I’m not a Marxist. Yet my political views and those of Corbyn and Loach are often viewed as “extremist.” 

I set out to bust the myth of media balance in the British media, the facile pseudo-patriotism disseminated by the British establishment (including Keir Starmer’s rotten Labour Party), and the weaponization of antisemitism, among others.

How did you approach the research for this film, particularly in gathering diverse perspectives on Ken Loach and Jeremy Corbyn?

VF: Ken, Jeremy, and I met a few weeks before the shooting (which was done in a single day), and I asked them to collate anecdotes of media bias and censorship to which they were subjected. I researched newspaper articles that demeaned and insulted Ken and Jeremy - which wasn’t a particularly difficult job. There’s so much hate against these guys out there.

Finally, I was familiar with Ken’s filmography, which helped me structure the movie with his clips. It was a relatively simple process, a straightforward project. I would call it politically audacious yet aesthetically unpretentious (I’m not embarrassed by my microbudget and by exposing the informality of the movie, such as the failing microphone, which I intentionally chose to leave in the film).

What were some of the biggest challenges you faced while filming, especially regarding accessing sources or differing viewpoints?

VF: There were no significant issues. We are super grateful to our friends at Sands Studios, who provided their incredible facilities in kind. Christine Edzard and Olivier Stockman are committed to activist cinema—films that make a difference. Ken and Jeremy, too, were super open and relaxed.

Were there any surprising revelations or moments during the production that changed your perspective on the subjects?

VF: The most significant change came during post-production, on October 7th, when Hamas attacked, and Israel retaliated with the most shocking genocide in modern history. We recorded the film a few months before, and the topic was already present. I decided to make it much more prominent and close the movie with a pertinent reflection.

There were no major surprises during the filming. Instead, some of the anecdotes are hilarious in their absurdity, such as comparing The Wind That Shakes the Barley to Mein Kampf and Jeremt Corbyn riding a Mao Zedong bike. 

Are there any particular moments in the documentary that resonate most strongly with the audience? Why?

VF: Hopefully, the part on Britain’s inability to self-reflect and recognize its past atrocities (the British Empire). The tub-thumping patriotism that our media disseminates is perhaps the most significant root cause for the defamation of progressive voices. Those who dare to challenge the establishment and refuse jingoism are not traitors. Quite the opposite: they are the ones who care about the average citizen. Hence, the ironic film title.

What are your plans after this project? Are there other topics or themes you’re interested in exploring next?

VF: I am currently a producer on a much larger project for a well-known filmmaker, a close friend of mine. Fingers crossed that comes to fruition. And I’m working on the third movie in the Dirty Media trilogy (the first two being The Coup d’Etat Factory and The Bad Patriots).

It features a very outspoken and energized Noam Chomsky in his penultimate interview before health issues prevented him from talking and writing. Maybe I will call it The Bad Jew.

by Ryan Rojas

Amanda Deering Jones and Kitty Edwinson Treat Addiction With Compassion

It’s a pleasure to meet you both, Amanda and Kitty! I’d love to hear how you first became involved with your new short film, Little Mother Lies. Kitty, being the screenwriter, when did this story’s idea first come to you? Amanda, when did you become involved with this project as the director?

Kitty Edwinson: Hi Ryan, it’s a pleasure to meet you! The idea for this short came from the feature on which it's based, Mother Lies. I found a letter my grandmother had written in 1955 to her sister’s psychiatrist describing what the sisters endured as children when they fled Russia during the 1917 Revolution. My mother did not know this story. I showed the letter to my sister and said, "There’s a movie in here."

Amanda Deering Jones: Thank you for talking with us! As a producer, I have been with the feature since 2020. However, at the end of 2022, we discussed creating a short as a proof-of-concept. At the same time, I had personal revelations about wanting to enter the directing seat in my career. The stars aligned, and I was able to dive in with this short.

What were each of you most excited to bring to the screen, and how did you approach these sensitive subjects?

KE: This story gave me a chance to portray the fallout of a horrific choice parents of addicted children often face and then play with what might happen if the son, in this case, caught even a tiny inkling of what that fallout was, how it was shaping the decision he’s making in this very moment.

We approached this by gradually revealing the extremity of the situation to the audience and then having the son and audience learn what the choice was at the same time. This way, the audience’s reaction would be compounded by caring how the son responds.

ADJ: Two things excited me from the feature that Kitty crafted. I wanted the world to meet these complex sisters. I always thought their dynamic was fascinating as well as deeply relatable. And I wanted to show a mother willing to face her darkest fears to save her son. Much thought and care was put into the story around what we wanted to highlight, poke at, and elevate in the world of addiction.

The same goes for the pitch material when we approached investors. Kitty did a beautiful job sculpting the dialogue around what was said and what wasn’t said. We only moved forward once we all felt the script was truly ready.

Kitty, what did you want to highlight when writing the roles of sisters Dorie, Marinka, and her son? 

KE: I wanted Dorie to embody the fear, worry, and exhaustion of a parent in this situation, layered over with tension and ambivalence around being with her sister. Pascale Roger-McKeever did this brilliantly. I wanted Marinka, her sister, to be this mesmerizing force of nature who embodies the allure of the family’s particular approach to life while also dramatizing the destructive core of that same approach–Emilie Talbot did this brilliantly.

I wrote the son to be in the throes of heroin withdrawals, a state he’s familiar with while being in a situation that is literally foreign, suffering in this weird room. Elliott Thomas West perfectly captured the son’s curiosity, rising and falling with the waves of sickness and his primal need to escape while also being a beloved son who has not been lost.

Amanda, what was your process for casting these characters? Did you have specific actors in mind?

ADJ: We had actors in mind for the feature, but the short was a different beast. We brought on a brilliant local SF Bay Area casting director, Kim Donovan, and decided to look for local actors first. We lucked out for both of the sisters. Pascale Roger-McKeever and Emilie Talbot sparked us immediately. Elliott West from LA also quickly rose to the top as a standout.

Amanda, how did you approach directing actors in such emotionally charged scenes?

ADJ: Time is often more squeezed with a short, but I met with each of them individually because I wanted us to get to know each other as people first. I wanted to hear more about their process and how their brains work. This was supremely valuable going into the shoot.

I knew these would be tough roles, but I wanted them to feel they could lean on me for emotional support and to feel safe throughout the entire process. This preparation served us all as we navigated the hardest scenes, and in the end, they blew me away.

What were some of your biggest challenges in making Little Mother Lies as an indie film?

KE: My confidence flagged sometimes. On days when we hit some bump, I’d feel certain that the project would never come together, much less be superb. I had to work on restoring my faith. I was also worried about funding, which came together after all, but boy, that was a nail-biter.

ADJ: Kitty said it: Fundraising is high on that list. We approached investors and utilized crowd-funding. The great news is we got there, but it was a lot of work and a rollercoaster. Looking back, I realize that so much felt deeply hard while we were in it. Still, I am also blown away at the number of things that fell into place to support this project, particularly the incredibly talented people we pulled together.

Can you discuss your collaboration with the crew and how you brought everyone’s ideas together to shape the final product?

KE: We have been a tight bunch since the idea's inception for a short. We gradually honed our goals over the time the script was finalized so that by the time we had to shoot, Amanda could be the shepherd, as she says, and everything zipped together. The communicativeness and focus with the crew were a delight to experience.

ADJ: I care deeply about each person feeling they can contribute. You do this by declaring it from the start with your team and how you respond when they offer a thought or note. You will not take every idea, but if you’ve done your homework as a director, you will know what to take and what not to take. When I didn’t take a note, I at least acknowledged it and often explained my reasoning. Yes, this can be more work, but it creates a dialogue and builds trust. If we had not set this tone intentionally, we would have missed out on gold, and the short would have suffered.

Amanda, did you employ specific filming techniques or styles that were particularly effective for this story?

ADJ: In my research, I found an image from another film that I knew was the exact tone I was aiming for, and it became my guiding light. It utilized an anamorphic lens, and that cinematic feel was vital to convey a bit of mystery, a deep focus on the subjects, exposing their vulnerability, with a touch of absurdity and chaos at times.

Then, lighting was essential to bringing in all the conflicting tones; a warm background meant to tell us that there was love amongst the chaos, but blue lighting reflected the current state of the relationships. The opening scene has the sisters mostly isolated in shots, demonstrating how disconnected they are, but with a few wide two-shots for moments of connection. We were fortunate to utilize 2 Alexa Mini cameras for those isolated shots, allowing seamless filming where we could capture full performances with fewer takes.

What do you hope audiences take away from Little Mother Lies? Have you received any feedback that particularly resonated with you?

KE: People in recovery are all around us, and people struggling with addicted loved ones or addiction themselves are, too. Before we began shooting, crew members conveyed to me how important it was to them that this story be told. It has already generated critical conversations. This means everything to me. 

I want the audience to come away with a deepened understanding of what being in this situation might be like from each perspective: parent, sibling, addicted loved one. I want them to soften or suspend judgment. If they do know something about addiction, I want them to gain the courage to have a different kind of conversation with people who matter to them (including themselves).

ADJ: Most feedback has been powerful and moving because it resonates. Like Kitty said, it’s sparked meaningful conversations at times. Each person's interpretation of the ending is unique, but they’ve certainly felt its weight with each viewing. I hope it creates more understanding for families struggling with addiction. If just one person walks away with a perspective shift on their situation, we will have won.

Do you have plans for future projects after Little Mother Lies? Will they explore similar themes or different ones?

KE: The feature Mother Lies is about the sisters within the richly textured, disappearing community of descendants of Russian exiles in San Francisco. Addiction is just one thread weaving throughout. So we want this film made. I am completing another screenplay set in San Francisco in 1976, based on the true adventures of a rock-concert-crazed teen at the Cow Palace.

by Ryan Rojas

Michael Husain Fights For ABA Basketball Players' Rights

Basketball fans often view the NBA as the sole professional basketball league. However, to do so overlooks the significant contributions of the American Basketball Association that preceded it. The ABA introduced groundbreaking elements such as the three-point line and the slam dunk competition and entertainment features like player fashion, sneakers, halftime shows, and cheerleaders—elements we often take for granted today. The ABA enriched the game and laid the groundwork for the modern NBA, making basketball more enjoyable and dynamic.

Michael Husain: The Waiting Game initially arose from being a sports fan and learning a story I had no idea about. But quickly, it became bigger than sports—about injustice and wrong that must be exposed and corrected.

The guys who played in the old ABA innovated the modern game of basketball, which is now worth billions. How could anyone see them struggling now as older men and not want to help? That was the question that kept coming back to me.

Can you walk us through your research process for this documentary? What challenges did you face in uncovering the ABA's legal history?

MH: There were several key research threads. First, I needed to understand the impact of the ABA on basketball. Terry Pluto’s book Loose Balls is the go-to on that material and other books on the ABA. Next, I needed to understand the deal that went so badly – often called “The Merger” – that it left former players unable to care for themselves in their later years. It happened in 1976, and all those documents were in the possession of Scott Tarter, the lawyer in the film who co-founded The Dropping Dimes Foundation, which was set up to assist struggling ABA players.

Then, I needed to understand the social/cultural impact. The ABA was created in 1967, during the apex of the civil rights movement in America. In some ways, it reflected the changes that were afoot in society. Black cultural influences in the modern NBA are plain to see and celebrated. Much of that came from the ABA, and renowned sports sociologist Dr. Harry Edwards helped me understand it.

You mention the ABA's significant innovations, like the three-point shot and the slam dunk competition. How do you think these contributions are perceived today, especially by newer generations of basketball fans?

MH: I think they are no longer seen as innovations; they are seen as “basketball." That’s the game we all love these days, myself included. So part of the challenge in storytelling was to unfold the story for fans, say, 55 and above, who might recall the ABA, and those under that age who may have no idea it existed.

And, yes, remind them that the ABA innovated many aspects – including entertainment features like player fashion, sneakers, halftime shows, cheerleaders, and more – that we take for granted. The ABA created massive value for the modern NBA and simply made the game a lot more fun.

Who were some of the most impactful people you encountered while making this film?

MH: I appreciated the contributions of legends like Dr. J, Julius Erving, Bob Costas, and others, and they were great interviews. Dr. Harry Edwards, who was active in the civil rights era, invented sports sociology as an academic discipline, is just generally brilliant, and was very impactful in framing the story more widely than basketball.

James Jones and Ralph Simpson, who were extraordinarily gifted as ABA players and now struggle because of how this deal was structured, greatly impacted me. Their strength and honesty in discussing their situations/frustrations hit everyone on the team pretty hard.

Were there any particularly memorable interviews or moments you had while shooting?

MH: Oh yes. We traveled to San Jose State University to interview Dr. Harry Edwards. It was an important shoot for us. We booked a room in their beautiful library, set up for a couple of hours, and were ready to go. Ten minutes before Harry arrives, an announcement comes over an intercom to evacuate immediately. There is an active shooter situation in the building!

We exited to SWAT teams and other law enforcement streaming into the building while I was frantically trying to reach Dr. Edwards to tell him to stay away. We left all our gear in the room. It was very, very stressful. Thankfully, the situation was resolved several hours later, and no one was harmed. We were able to return the next day -  all the gear was there and untouched, and Dr. Edwards was a phenomenal interview.

What was the most challenging aspect of bringing this documentary to life, both creatively and logistically?

MH: Our approach involves a very layered story. Therefore, we needed to ensure the audience got enough information and/or emotional impact from each layer we revealed.

While more challenging from a story perspective, I hope the payoff in the last third of the film – which becomes more verité in style as the tiny not-for-profit takes on the Goliath of the NBA – is more rewarding because of the approach.

Why do you believe the story of the ABA's players is important to the history of basketball and sports?

MH: It is important to sports history because the story of the innovations of the ABA is being lost. Having a heart-wrenching set of circumstances allows us to remind people of just how incredible the ABA was. That was very important in why I pursued this.

In what ways do you think this documentary might influence ongoing discussions about athlete rights and corporate responsibility in sports? What do you hope your documentary will achieve regarding advocacy for these individuals?

MH: From a narrow NBA / NBA players union perspective, I hope it reveals to them that some were left out and still need help. It would be a relatively meager sum to the powerful but life-changing to the guys left out or the widows who saw no benefits.

From a broader perspective, I hope it reminds corporate leadership of the terrible consequences when basic humanity isn’t present in the boardroom. Actuaries, accountants, and lawyers are smart and must be informed in decision-making. But if they are not tempered by someone advocating for “golden rule” decency in corporate behavior, what happened to the ABA guys seems to be the result. Real people get hurt.

What message or feeling do you hope audiences take away from The Waiting Game?

MH: I hope they understand these men's immense impact on what has become a multi-billion dollar sports/entertainment juggernaut. Also, the recognition that there is a social justice aspect to how they were treated should not be ignored. Lastly, I hope audiences feel some outrage. As well as a desire to put some pressure on the powers that be to fix a very fixable situation.

Are there any other subjects or issues you’re passionate about that you’re considering for your next documentary?

MH: I’m a big fan of redemption stories. And I’m following a story of a prison re-entry program. In its pilot, it started to empty the lock-up where it was being used. People were getting out of jail and staying out, charting their redemptions. That documentary should be complete in 2025.

by Ryan Rojas