Ryan Rojas

Laura Waters Hinson and Claudia Myers Put Themselves To The Test

The Test follows the story of Eric Frimpong, a Ghanaian immigrant who works as a maintenance worker at a large retirement center. Eric dreams of bringing his wife and three children to the US, as he hasn’t seen them in eight years. The final obstacle to their long-awaited reunion is passing the U.S. Citizenship test. An elderly couple, Jill and Carl, journey alongside Eric to tutor him to pass the 100-question test that will define his future.

Directed by Laura Waters Hinson and Claudia Myers, The Test is a short film that will tug at your heartstrings and bring a tear of heart and hope to your eye. In our exclusive interview, the filmmakers discussed the inspiration behind making the film, collaborating as co-directors, and ways that you can get involved in supporting legal immigration.

 

The Test is a short documentary that follows Eric Frimpong, a Ghanaian immigrant who works as a maintenance worker at a large retirement center as he studies to pass the U.S. Citizenship test. It’s an incredible story, and so touching that by the end I fully teared up. How did you both find this story? What did each of you connect with when deciding you wanted to make this film?

Claudia: The idea came from reading an article in the Washington Post. It was about the success of a volunteer tutoring program at a Virginia retirement community to help their staff members. Many of whom come from other countries become US citizens. This was in 2021 and there weren’t many feel-good stories at the time. Laura and I were moved by the way this story brought together two seemingly disparate groups:  immigrants and the elderly. And, how each one provided a sense of purpose, belonging, and connection to the other.  

Shortly after reading the article, I reached out to the retirement community (Goodwin Living) in the hopes of interviewing residents and staff members in their citizenship program. Truth be told, I started in search of a story to adapt as a screenplay. But in speaking with various people about their experiences, I became convinced the story didn’t need any fictionalizing. It was plenty powerful in reality, as a documentary. In this new form, I felt I would benefit from working with a collaborator. Since most of my work is in fiction, I reached out to my friend and American University colleague Laura Waters Hinson. Not only does she have an impressive career in documentary, but we share a similar sensibility. Laura had read the same article and been deeply moved by it, so very quickly we decided to work together. 

 

What were the earliest conversations that you both had with each other regarding how you wanted to approach the storytelling, themes, and overall tone?

Claudia: We were on the same page from the start. Both of us are drawn to stories about groups that are often underrepresented or misrepresented in the mainstream media. In this case, it was immigrant workers and US retirees. Notwithstanding their differences, we wanted to highlight aspects of their shared experience. Both groups often feel marginalized while sharing the same need to be valued and accepted.

When we started, we weren’t just looking for compelling subjects, we specifically wanted to highlight the reciprocity in the relationship between retirees and staff members – where each provides a sense of purpose, belonging, and connection to the other.  Ultimately, we knew we wanted to tell a hopeful and emotional story. We hoped that in some small way, it could counteract the prevailing negativity surrounding perceptions of immigration and aging in America.

 

 

Were there any obstacles you both faced at the upfront or creative problems you had to solve while beginning pre-production? What were the first steps you took to begin making this from a logistical level?

Claudia: The biggest question we grappled with in the beginning was about the scope of the story. Initially, we wanted to make it a feature documentary within the retirement community. Such as, following staff members and their volunteer tutors as they prepare for the US citizenship exam. This was nice in theory but logistically and financially challenging. We also wondered about being able to sustain dramatic tension over the length of a feature. After weighing our options and speaking with several residents and staff members, we decided to narrow our focus to a single story and make it a documentary short. Keeping the film intimate and personal felt like the best way to get to the emotional heart of the story. 

 

Seeing that you both share co-director credit on this film, what responsibilities did you both end up having? How do you find that you best collaborate?

Laura: Claudia and I worked closely together on all aspects of the film. We had a very similar vision for the storyline, which made it a really fun and collaborative process. We found that two brains were better than one at thinking through all aspects of the vision – casting, production, and editing process. In particular, it has been really helpful having two of us tackle various aspects of our education and outreach campaign, as well as dividing up travel and speaking engagements related to the film festivals we’ve attended.

We’ve been accepted at 16 festivals and counting, and I’ve loved having a co-director to share this journey with. At the end of the day, Claudia and I trust each other’s creative instincts and have a genuine blast working together, which has made co-directing a wonderful experience!

 

 

The main subject, Eric Frimpong, is such a great, good-hearted person and subject to follow. When did you decide he would be the film’s main subject? What was it like meeting him? Did you have any reservations or conversations about shooting him during such a stressful time of his life?

Claudia: We were immediately taken by Eric’s quiet confidence. He was also extremely open and honest – about the sacrifices he’s made, the challenges of staying connected to his wife and children while being apart for eight years, and the high stakes of acquiring US citizenship. Eric felt the pressure while also exuding a sense of calm. He was proud to share his story. The day we first met, I remember he offered to call his wife Sandra on WhatsApp to introduce me to her and his children. Their family bond was incredibly strong despite the years spent being apart. It was touching, and also inspiring.

 

The other subjects, Jill and Carl (Eric’s devoted tutors and retirement center seniors), are equally important in the film, both playing such a big part in Eric’s story. How did you meet them, and what conversations did you have about also including their stories on the screen?

Laura: We met Jill and Carl at the same time that we met Eric. They were a big reason that we chose to tell Eric’s story. Jill and Carl are simply the most lovely, kind, and generous people. And we knew their warmth and love would shine through in the film. They were also keen to tell the story on camera, as their relationship with Eric was deeply meaningful to them both. The fact that they had become “family” with Eric was such a beautiful testament to the power of the citizenship program, and we knew we had to make them part of the film.

 

 

What were the most challenging parts of making this film that you both faced?

Laura: Like many filmmakers, the most challenging aspect of making this film was funding. Because Eric, our main participant, was in the middle of the citizenship process, we knew we didn’t have time to wait for traditional funding methods, like film grants, to come through. So, we worked with several talented graduate students in our graduate film program at American University and self-funded much of the film. 

 

Did you have any new revelations about the film during editing, or once you finished, and shared the film with audiences?

Claudia: I don’t know if it was a revelation, but it has been thrilling to see how moved people are by Eric’s journey and his relationship with Jill and Carl. There’s nothing better as a filmmaker than knowing you told a story that resonates deeply with the audience.

 

What takeaway do you hope audiences will have after watching your film?

Claudia: I have many hopes for the film! That it will move people, that it will spark conversation, that it can help reframe the immigration debate in a positive light. Most importantly, I hope the film inspires some people to take action. Other retirement and assisted living homes could so easily replicate the citizenship program in the film. The sense of community, purpose, and belonging that the process creates is invaluable. This type of program offers a real-world, inexpensive solution to the loneliness epidemic among immigrant workers and older adults. It could also be a powerful tool in addressing the workforce shortage in aging services in America. I’ll just finish by saying, if people want to see all the ways they can take action after watching the film, they can visit our website: testdocumentary.com

Laura: I hope that viewers of The Test walk away with a newfound faith in humanity. The people portrayed in the film are some of the best human beings we’ve ever met in our lives. Their love for one another and their country is contagious. And we hope your heart lights up when you experience their story.  

 

 

What is the future of this film, and do you have any future creative projects?

Laura: Our vision is that the film can serve as a bright spot here in this season of division, and political upheaval, and be a reminder of the power of the American Dream and the best of what it means to be a citizen in America. The film is currently on the film festival circuit, and it’s won best short documentary at two festivals already. We hope to continue to show the film far and wide through the film’s national outreach campaign, which we recently launched.  Our goal is to start conversations about the loneliness epidemic in the US through creative means like the Goodwin House Citizenship program. We also hope the film can remind people of a positive story of legal immigration. A few ways that people can involve themselves are:

• Host a screening in your community!
• Start conversations that change perceptions and stereotypes around aging in America and legal immigration.
• Support Goodwin Living’s existing program or start your own!
• Learn more at: testdocumentary.com

Claudia: I’m very excited about the launch of our impact campaign to see how many people we can reach. In terms of future projects, I plan to return to fiction for a while. I’m currently developing several feature films and a TV drama about restorative justice.

 

What is one message that you would like to share with audiences about your filmmaking, and general outlook on life?

Claudia: In addition to being a filmmaker, I’m proud to be a faculty member in American University’s School of Communication film program. The motto in our division is “Media That Matters.” It’s something I strongly believe, in and try to impart to my students. I hope to tell stories that will impact and inspire people. As well as foster the idea that we are fundamentally interdependent and interconnected.

Laura: My leadership at American University’s Community Voice Lab informs much of my creative work. The Lab elevates the voices of marginalized community storytellers through collaborative filmmaking endeavors. It's a vehicle for engaging students in my creative scholarship and is a vital aspect of my role as an educator. I’d love for people to check out my additional films on my website (www.LauraWatersHinson.com). As well as the Community Voice Lab site: https://www.american.edu/soc/community-voice-lab/

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by Ryan Rojas

Laura Plancarte Lives, and Creates, The Dream

When setting out to create her next feature film, director Laura Plancarte had three clear goals: to portray a strong woman breaking stereotypes about femininity, return to her roots in Mexico, and challenge clichés about the dreams and capabilities of impoverished women. It's safe to say that her new film, Mexican Dream, does exactly that. A hybrid documentary/narrative film that tells the story of a woman who flees to Mexico to avoid abuse, regain custody of her children, as well as undergo IVF, the film speaks to the strength of women worldwide.

Related: 'Mexican Dream' Review: A Tale of Heartache and Second Chances

In our exclusive interview, director Laura Plancarte discusses the inspiration behind making Mexican Dream. Further, she talks about working with her main lead, the responsibility she felt portraying Latina women onscreen, and her hopes for future films: "Things that from the outside seem inexplicable, when you go deeper you find clues, sometimes answers, sometimes a certain hidden truth."

 

Cinemacy: Your new film, Mexican Dream, follows a woman named Malena fleeing to Mexico after enduring an abusive relationship and custody battle for her children. I understand that the film initially started as a documentary before it turned into  a hybrid doc-narrative film. What was the original idea for this project? How did you find Malena, and what about her did you connect with when deciding you wanted to tell her story?

Laura: After completing my last film, Non Western, I had three clear goals for my next project: I wanted to portray a strong woman breaking stereotypes about femininity, return to my roots in Mexico, and challenge clichés about the dreams and capabilities of impoverished women.

With the help of a friend who participated in my first film, I reached out to women in Mexico, inviting them to join me for a Zoom call to discuss the possibility of creating a documentary about their lives. The day I met Male, the protagonist of Mexican Dream, I knew it was her who I was looking for. Not only did her strength and charisma come across straight away, but her desire to have another child through IVF, despite her complex relationship with her teenage children and financial hardships, intrigued me. I realized she could challenge audiences to see a different side of a Mexican woman who comes from poverty, breaking stereotypes and shedding light on the complexities of femininity, motherhood, and Mexico's unjust social structure.

Her strength inspired me deeply. It drove me to create a film that could inspire and support other women who have faced similar experiences.

 

 

We see that Malena endures much hardship in her life, surviving an abusive relationship with her ex-husband to whom she loses custody of her children, and undergoing IVF. What ideas, themes, and messages did you want to ensure came through in telling her story on screen?

I've witnessed it first-hand time and again: women are consistently at the back of the line in discussions to promote fairness. Our society remains deeply patriarchal. While progress has been made over the past 50 years, there's still much work to be done. We've all internalized patriarchal norms to some extent, which is why the fight must continue. In Mexican Dream, I aimed to ensure that the audience could witness the multitude of roles and expectations placed on women. From being mothers to breadwinners, and caregivers to the glue holding families together, women are expected to excel in every aspect. Yet, if they fall short, they're often labeled as bad mothers or selfish individuals. I wanted to make a portrait of femininity. Not only with the Male’s story, but with the stories of all the women that appear in the film. 

I’m not a mother myself, and I find it incredibly unfair that society still expects mothers to be a sort of saintly figure. There's no rulebook dictating that becoming a mother means sacrificing one's individuality. While caring for children is crucial, we must recognize that mothers are individuals with their own needs and aspirations. By creating a society that supports rather than impedes mothers, we can strive towards a more balanced and equitable world. With Male’s story, I wanted to reach to the audience and say: ‘Yes she’s not perfect, no one is, but she’s pretty great.’ She has never settled, she fights and works relentlessly. While her relationship with her children is complicated, a society that prioritizes support over punishment could significantly improve their dynamic.

 

What was your approach to working with Malena as the project began? I can only imagine collaborating was tough, given she has lived a hard life. 

Since the beginning, I knew I wanted to make a film in collaboration with Male. Through making observational documentaries previously, I learned that participants can be disappointed in the way they’ve been portrayed, even though I aim for honesty and sensitivity without sensationalism. We all have idealized self-images. So, I searched for a method where I could authentically tell Male’s story. Also, while giving her agency in the way she was going to be represented. I sent Male an iPhone with accessories so she could film herself and I could blend material filmed by her with material filmed by me. It was challenging because soon after I met her in late January of 2020 the pandemic hit. During our first year of collaboration, we met via Zoom for one-and-a-half-hour sessions on Mondays, Wednesdays, and Fridays.

When lockdowns eased, I traveled to her hometown to film her and her relatives and when we were apart, she filmed herself and I directed remotely. It was challenging but an incredible experience. In a way our Zoom sessions became like a recorded diary of what was happening in her life, what she felt, thought, and desired. 

 

How did the decision to turn the documentary into a hybrid film (co-written by you and Malena) come about? What were the first steps you took to transform it into a written feature film?

After a year and a half of filming together, Male regained custody of her teenage children. While this was great news, it posed complications due to the fragile nature of their relationship and the vulnerability of her children. Therefore, our working method evolved into writing together instead of filming together. This way Male could protect her relationship with her children, and it would also give her children agency in the way they were going to be represented. It’s very different to be caught on camera than to re-enact an event or show how you feel or think about something. I’m very happy that we took this route, as it has been a great pleasure to collaborate with all the participants instead of just observing and filming them. 

Whether through a pure observational documentary or a hybrid film created in collaboration, both approaches can unveil a certain truth, shaped by the director's perspective. I believe that the way Male represents herself in front of the camera carries a greater sense of power compared to the footage captured earlier when we were both filming her story. It may seem unconventional, but the footage filmed after our writing collaboration, reveals deeper truths than our earlier material.

 

 

What obstacles did you face throughout making the project? What was the hardest, and what was the most unexpected?

The biggest challenge in the making was navigating the delicate dynamics of her relationship with her teenage children. When Male regained custody of her kids, I interviewed her son Jhovani. Even before I could ask a question, tears rolled down his cheeks, revealing his vulnerability. It became evident to me that while Male chose to work on a film with me, her son didn’t. At that point, I realized that we needed to find a different approach. It wasn’t worth taking chances and risking her children getting hurt. When I proposed to Male to shift our collaboration from filming together to writing together, Male initially felt disappointed. She enjoyed the process of filming herself with the iPhone and recording sound. However, when she realized how this would protect her children and their dynamic, she embraced the idea. 

The hardest moment to film was the scene where Male's daughter, Fátima, rejects her. It was particularly challenging, as it required them to re-enact painful past experiences. Despite the difficulty, Male shared that on the day after the shoot, she and her daughter engaged in an open conversation about unresolved issues between them. And, that she was pleased. This was rewarding to both them and me. 

 

Is there any scene in particular that you are most proud of, or think of fondly?

It’s difficult to name one scene, so I’ll tell you my favorites: The scene where the Male and the group of women gather for a BBQ, sharing their experiences in motherhood, was a moving moment for me and it was eye-opening.

My favorite scene visually is when Male and Edgar are in their bedroom. The curtains cast a pink-red hue, enveloping the space in a warm glow, and we can witness authentic intimacy between them. 

The closing scene at the bar, with Male, Carla, and Juanito singing, was loads of fun. They are some of the most vibrant and enjoyable people I've met. While filming their conversations I often struggled to contain my laughter. Making the film was quite a rewarding experience.

 

What takeaway do you hope audiences will have after watching your film?

I hope the film challenges the notion that individuals from impoverished backgrounds have limited dreams, or that aspiring to bigger dreams is foolish. 

My aim for the film is to spark conversations about the societal expectations placed on mothers. I also hope to convey that there are always choices available to women. Being a mother is a significant responsibility and it's not a path for everyone. Women should have the freedom to choose whether to have children or not, without feeling pressured by societal norms.

 

 

Let’s get to know you both better. Where are you from, where do you reside?

I'm originally from Mexico but have been living in London since 2009, something I didn’t expect or planned. In Mexico, I worked as a visual and performance artist. In 2008, I started seeking opportunities to grow in my career. It was a surprise when I received a grant to study for a Diploma in filmmaking in London. However, because I made video art, it made sense. I fell in love with both filmmaking and London, nowadays, film has become my primary medium of expression.

 

What are your favorite films, who are your filmmaking idols, and dream collaborators?

Since working as an artist, films have always been my creative references. I've had many love affairs with films and filmmakers. When I was 20, Pedro Almodóvar enamored me. Particularly, his film 'Tie Me Up! Tie Me Down!' As I entered my 30s, it was David Lynch and 'Lost Highway' that captivated me. I admire the works of Chloe Zhao and Hirokazu Kore-eda. Recently, I found myself obsessed with the French film 'Full Time.' Each phase of life brings new cinematic loves and inspirations.

 

What is one thing you’ve learned as a filmmaker that you think other filmmakers would benefit from knowing in starting their careers?

Don't believe that one mistake will ruin your chances. If you work hard and you push a door will open bringing a new opportunity. Don't give up when things get tough; the industry is full of ups and downs. Enjoy the journey because awards and recognition are temporary.

 

 

What is the future of this film? Do you have any future creative projects?

Mexican Dream just got Distribution in Spain through DocsBarcelopna’s distribution company Planeta. They promised at least 60 cinemas, plus TV and VOD and I’m very happy about this. Now at HOT DOCS where the film is having its international premiere, I have meetings with Canadian and American distributors, and with broadcasters and VODs. Fingers crossed; I think more good news will arrive soon. It’s a film that touches on very universal topics.

I'm currently working on a film about an interracial French boxing couple living in London. George and Sonia are both passionate Muay Thai fighters and the proud parents of a beautiful two-year-old boy. They are incredibly charismatic. And they are set to challenge the audience's preconceptions about fighters, gender roles, and the motivations behind their choice to risk it all in the ring. They are both successful, own their own boxing gym, share a deep love, and are great parents. So, why risk it all? With this film I want to delve into our societal obsession with achievement and our addictions, exploring the psychological journey behind our relentless need to prove ourselves, whether as exceptional athletes, filmmakers, scientists, or in other pursuits.

 

What is one message that you would like to share with audiences about your work, your general outlook on life, that you are interested in further showcasing in your films?

My passion has always revolved around working with real people. I believe there is nothing more potent than reality itself. And I love meeting people and learning about worlds different to mine. In a way, it's like reading a book where you get to meet the characters. I think it's a real treat. Since working as an artist, I’ve been trying to find answers to existential questions, and I’m fascinated by human behavior. I’m interested in exploring why we choose the things we do. Things that from the outside seem inexplicable, when you go deeper you find clues. Sometimes answers, sometimes a certain hidden truth.

I feel very blessed to get the opportunity to do what I love and to be able to share it. I want to open conversations and portray that things and people are complex. That there is no easy solution. Things aren’t black or white. I’m very grateful as I have had great adventures in all my films. And I have fallen in love with all my characters. I think it wouldn’t be possible for me to do it otherwise, as I spent at least three years with them, watching them every day either in person or in filmed material. And receiving emails from audience members sharing how my films have impacted them is a full-circle moment for me.

To learn more about Laura Plancarte, visit https://www.lauraplancarte.com/

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by Ryan Rojas

Bhavana Goparaju Brings Third-World Stories To the Forefront

Bhavana Goparaju didn't always know she wanted to be a filmmaker. But after a chance encounter where someone asked her to write a story after reading her poems, she realized filmmaking's power to tell stories. Now, an accomplished producer, Bhavana has made multiple films that have debuted in such prestigious film festivals as Berlinale and Busan International Film Festival. Now, she's ready to share those stories.

In our exclusive interview, Bhavana discusses growing up in India and how she got her start in filmmaking, as well as the humanist stories she's drawn to telling while continuing to spotlight third-world people and stories.

 

Cinemacy: It’s my pleasure to meet you, Bhavana! Where were you born, where did you grow up, and where do you reside?

Bhavana: Likewise! I was born and brought up in the city of Warangal, Telangana, in India. I currently currently live in Minneapolis, Minnesota.

 

Cinemacy: Did you always want to make movies when you grew up? When did you know you wanted to be a filmmaker?

Bhavana: Actually, no. I never thought I would be a filmmaker. I wanted to capture and tell stories, and learn and explore life in general (that of different strata of people). But I never thought I would be a filmmaker until someone in the industry read my poetry and short stories on social media and suggested I write a story for them.

The whole process of learning to write a story, logline, and script was so mesmerizing. Since that experience and after thinking deeply about how filmmaking is a powerful tool to tell stories, I decided to pursue life as a filmmaker.

 

Cinemacy: What was the first film project you worked on?

Bhavana: I worked as a lyricist first in a Telugu film. Then I worked as part of a writing team in a Hindi movie while trying to write lyrics in between. Then, after some struggles getting to write the kinds of stories I wanted to make, I moved into producing. I observed the power that producers had in controlling which movies could be made. According to my scenario and skillset, I strongly felt that producing was the way to go.

 

Cinemacy: What have you found are the most important qualities to have as a producer?

Bhavana: Finding solutions no matter what, being committed to the film's vision, and having a combination of creative spirit and strategic soul.

 

 

Cinemacy: You've made an impressive amount of movies to date, having produced films that have played globally. What have been the most challenging moments you’ve had to overcome in your career? What have been your proudest?

Bhavana: I feel like the challenges increase with every next movie I make, which I also feel is a sign of progress. Every film I make is one step further either in the budget, the vision, the team, etc. The most challenging so far was making In the Belly of a Tiger. Investors backed out during COVID-19. And even after figuring that out, because we shot in a village in the northern part of India which our crew weren't familiar with, a lot of line production fell out of place.

Also, because of the budget constraints in independent cinema, every day was a problem-solving day. I had sleepless nights figuring out how every day would go as planned and making sure not to distract the director and let the final output go as planned, which was very different from other projects. The series of events that happened in this film made it feel more challenging.

 

My proudest moments are of course going to Berlinale, and Maadathy’s North American screenings. Maadathy premiered at Busan Film Festival in October of 2019 and went on to have a Latin American premiere at Cartagena, but COVID-19 happened.

It was a huge setback for an independent film that was doing so well getting right into COVID-19. That also got us thinking about what to do from there, to which we thought of independent individual screenings, which became like a tour. Watching people watch the film, hearing what they had to say, and the audience coming to talk about unseeable caste when it became a conversation initiator on caste-based atrocities in India felt good.

 

Cinemacy: In the Belly of a Tiger World premiered at Berlinale this year–congratulations! What was the reception like for the film, and where can audiences see it?

Bhavana: Thank you! It was great. We had sold out shows in Berlin. Audiences and Critics who saw the film had all great things to say. So, it’s good! Now, we are focusing on premiering in other premiere film festivals in North America and Asia. After that, we want to go to the public releasing in theaters/OTT streaming.

 

Cinemacy: Can you tell us more about the production company you founded, Jeevi Films? What is the company’s mission, and what are some of your fondest memories and proudest moments?

Bhavana: Jeevi means "living being" ("human being" in my mother tongue, Telugu). The mission of Jeevi Films is to tell humanistic stories, especially those of third-world cinema, and bring them to the world, find audiences, and create spaces for such stories for the sake of the world itself. The first production from Jeevi Films is In the Belly of a Tiger. Every moment making this film and since Jeevi Films was established is a revelation and a learning experience for me. Working with as passionate a team as one can be one can be will always come first in the list of fondest moments.

My proudest moment is that the first production of Jeevi Films premiered at Berlinale 2024. I am also personally proud of the Jeevi Script Fund, which will be unveiled to the world soon.

 

 

Cinemacy: What have you learned about working in indie filmmaking that more aspiring filmmakers would benefit from knowing?

Bhavana: Make sure you can narrate the story behind the story of your film. Only boundaries or limitations are what we create in ourselves. If you think we need this person for our film or a certain thing for our film, go make it happen. Don’t hesitate to approach anyone. Only crazy people can do and be magical.

 

Cinemacy: Who are your filmmaking heroes and dream collaborators? Do you have any next projects that you’re excited about?

Bhavana: I would say Charlie Chaplin, Ava Du Vernay now. I wish Charlie Chaplin was alive now, but want to work with Ava and Anurag Kashyap. I had an actor Irrfan Khan who I wanted to work with but (he passed). I also really wanted to work with The Daniels of Everything Everywhere All At Once. I want to pick their brain on the screenplay and visual miracle that they created on the screen through their film.

Yes, I have a project which is in the later stages of development that I am excited about.

 

Cinemacy: What messages and themes are important to you that you wish to explore in your future work?

Bhavana: I am also exploring the social care systems in the USA and homelessness which got to me since I have been in the USA. Also the contradictions, and complexions of the third world in the first world.

Also, as a nature lover, I have been exploring to experiment on over layering of scientific biological systems on the social systems we built. But I am assuming it might take more time than I am anticipating right now.

 

Cinemacy: What do you hope audiences take away after seeing your films?

Bhavana: There is life that can be unknown and new to us, but there is life, love, fight, and hope in every form. All we need to do is look at it and learn from an empathetic perspective. And, if all life seems hopeless around us, we need to be that hope. 

 

You can follow Bhavana Goparaju on her Instagram, Jeevi Films Instagram, Facebook, Linktree, and Jeevi Fillms website.

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by Ryan Rojas

Derek Franzese Spotlights The Beauty of Underrepresented People

With global conflicts, the rise of AI, and underrepresented people continuing to be marginalized, the world can be an overwhelming place. Some people can even become paralyzed with fear and cynicism. Or, if you're Derek Franzese, you choose to tell stories that illuminate the best of people and life.

Related: Review: 'When Unfettered' Challenges the Divisive Perception of AI

In our exclusive interview, Derek discusses his short film, When Unfettered, which tells the story of an AI humanoid who discovers what it means to feel emotion after encountering and befriending a special child. The director and co-writer talks about his inspiration behind the story, what he wants people to know about working in indie film, and his goal of spotlighting underrepresented communities onscreen.

 

Cinemacy: It’s a pleasure to meet you, Derek. First off, your short film, When Unfettered, is a wonderful, heartwarming, and profound look at humanity. It also explores how life will change with the growing technology of AI. What was the original idea for this story?

Derek: Christopher Dick (producer and co-screenwriter) has been working with a company that is involved in AI for quite some time. We started discussing that most films, books, etc. show AI as this kind of evil. Even if it decides to help humanity, it generally decides the best thing for humanity is to eradicate it. So we wanted to go in this direction of showing that not all humans are awful, and perhaps when this being becomes sentient, it does so by seeing love.

So I went with the idea that the android, for lack of a better term, comes to feel her first emotion, love, by befriending these innocent kids. That she could see this immense compassion in communities that I don’t feel we as people give enough credit to.

 

Cinemacy: You co-wrote the film with one of the film’s producers, Christopher Dick. What was your writing process like? What ideas or themes did you want to ensure were in the story? And, were there any breakthroughs or discoveries when writing?

Derek: The process was essentially, we came up with the idea of AI learning to feel love, and then I ran with it. I’d send him drafts and he’d give notes but we were pretty aligned from the beginning so if I was stuck on something we’d quickly chat and we got the writing done pretty quickly. 

As far as themes, I wanted to use Ash as a metaphor for so many of the issues in our world right now. It’s about immigration, racism, prejudice, being different than others, and how that affects us. As well as fearing things we don’t understand, innocence, the beauty of underrepresented people, and art and dance as something we should find our humanity.

 

 

Cinemacy: When Unfettered follows a wide range of thoughtful emotions, such as grief when losing someone, anxiety over a technologically advanced future, and the feeling of connection with people. How did you set the various tones on set while shooting each of these different scenes?

Derek: We used the lighting in the opening scenes to establish this cold, sterile cool tone which I felt was a bit more of a representation of what we generally see as the future. A little more gloomy I guess but the scene where the father passes away I wanted to make sure was a little more of a serene time even though it’s still this empty room. 

We kept the set while filming at the house more peaceful and a little more somber to help the actors and when we did the death scene, we cleared most everyone out and let Carly and Natalie just go with what they felt. Once Ash left the house, we tried to just have fun, create some things for her to discover, and keep it bright. We started the shoot filming the scenes with the kids so that was easy for us to make enjoyable. 

 

Cinemacy: The film’s main character is an AI named “Ash,” played by Ashley Whelan. What was the casting process like? What direction did you give her for this character, and was there anything you discovered in the performance she brought to it?

Derek: Ashley and I have known each other for so long and we’d always wanted to work together so Chris and I had envisioned her in this role while writing it. We did our due diligence though and had a casting director help us get audition tapes from all over the US. We wanted to make certain. Probably watched more than 100 and Ashley was still the role. 

One of the directions I gave was watching videos of what the “perfect” walk for a human would be since most of us walk improperly. We watched a lot of stuff from doctors and physical therapists so she could focus on that, to begin with. 

Then we talked about micro-expressions but I’d been sharing the script drafts with her and she was already creating this character by the time she put herself on tape so I didn’t have to do much directing. She was just wonderful in how she showed this dryness but you cared about her. Not an easy character. 

 

 

Cinemacy: I noticed that the film has a warm, inviting, and optimistic view of AI when some feel a bit more anxious about what that will mean for humanity. Do you feel more optimistic about AI versus pessimistic?

Derek: I don’t feel optimistic, honestly. I’m nervous about it but I wanted to show that maybe twenty years from now there will still be beauty on this planet, that we can still be wonderful as humans. That we won’t completely destroy all the plants and maybe the earth won’t be some nuclear wasteland. I think there may be some benefits for us with AI but When Unfettered, in my mind, really isn’t a comment on the positivity of AI. Ash is simply a representation of another thing humans will be frightened by and the prejudices of today. 

 

Cinemacy: The film is beautiful, with two distinct looks: more formal, muted color shots in the opening scene of the home versus handheld, colorful images in the park. What direction did you give your director of photography, Joe Simon, to create these worlds?

Derek: Exactly what you just said. Let’s make the house more rigid and less welcoming. Everything should be more perfectly placed, cool blues. Since you have such a compact amount of time in a short film, we shot the house as if it were a character. "Sterile" was a word I used a lot. 

 

 

Cinemacy: You also feature kids of underrepresented communities, including disabled people in key roles. What was that like to write as well as shoot on the day?

Derek: Great. All around great. Filming with the kids was so much fun. We really just gave them an area and said let’s have a party. Some of them knew each other and some didn’t so we just followed them getting to know each other. It was authentic and I barely had to direct anything. 

Writing was unique because I don’t have a lot of family with cerebral palsy or Down syndrome so I relied on friends with kids with those special abilities and I’d send the script to them and they’d tell me if I was far off in how they interact. Then one friend would ask if she could share the script with parents in the community. I’d change the little phrases but ultimately it became this collaborative film and that never changed. I felt it was so important for the families and kids to tell me what they wanted to do and I adapted to it. 

 

Cinemacy: What do you hope audiences will take away after seeing this film?

Derek: Compassion and this understanding that even if we come from an underrepresented community, we still harbor prejudices and we all have work to do. The answer to so many of our issues is simply love. 

 

 

Cinemacy: Let’s get to know you more. Where are you originally from? Where did you grow up, and where do you currently reside?

Derek: I moved around quite a bit as a kid, from Orlando to DC to Columbus, Ohio but mostly I grew up in Cleveland, Ohio then went to high school in Houston, TX. My father was from Brooklyn so I spent a lot of my childhood going to New Jersey and NYC. My heart has always belonged in New York though I only lived in Brooklyn a year. 

I live in Austin, TX now. I split time in LA because it’s one of those things you kind of have to do in the industry but Austin is home. 

 

Cinemacy: What have been your most formative moments in filmmaking to date? Proudest?

Derek: My day job is that I’m an assistant director so I’ve been pretty lucky to work with a lot of really talented filmmakers and learn from them. One of the jobs that I was an AD on where I got to learn was Alita: Battle Angel. It was incredible to watch the filming processes of something with so many VFX shots.

As for my own work, When Unfettered, has been something both formative and proudest of. We shot with lots of kids and animals in parks and downtown so just accomplishing that is crazy in itself, much less during the summer of 2021 while the pandemic was still going on. It was also the first time I really had to trust other people as far as VFX or a composer after the shoot. Generally, I would just film things that I was capable of doing myself or have a song in my head that I knew we could license. I can’t do VFX myself so there was this unease about making things like that. 

 

 

C: Who are your filmmaking heroes and dream collaborators? Do you have any next projects or ideas in the early stages that you’re excited about?

Derek: So many heroes, Akira Kurosawa, Fellini, Scorsese, John Huston. 

I really, really want to work with Robert De Niro. He was probably the most profound influence on my seeing how powerful film can be when I saw Awakenings around 12. He’s been my favorite ever since then. 

 

C: What have you learned about working in indie filmmaking that more aspiring filmmakers would benefit from knowing?

Derek: Just make stuff and try your best not to be discouraged. Make mistakes. Be bold. 

I wish more established filmmakers were honest with aspiring artists about the reality of this industry and the film festival circuit. It really is rigged against you. It’s a circle and it’s designed to mostly keep you out. Some of these big festivals will never say it aloud but they may be taking two films a year that are from blind submissions. The agencies, studios, established filmmakers independent producers, etc. are all vying for the slots and there really just isn’t a large place for many unknowns at those festivals. Then you have festival distribution companies, aggregators, reps, and so many people who already have a foot in these circles.

So if you submit to those few dozen fests and you’re turned down, keep moving forward. Try the regional festivals. There are so many great festivals that are looking for less connected new voices. 

 

C: What messages and themes are important to you that you wish to explore in your future work?

Derek: I adore anything that’s going to have any kind of poignancy. I’ve always wanted to make things that allow people to feel something and in general, what I write, tends to be something sociological. I’m fascinated with our relationships as humans amongst each other. 

 

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by Ryan Rojas

Apollo Bakopoulos Dances Through Life With Self-Acceptance

There is so much beauty in the world and within ourselves. And yet, sadly, many people aren't able to, or don't choose to, see that. After struggling to accept himself, dancer, artist, and filmmaker Apollo Bakopoulos bravely overcame crippling feelings around self-shame to begin living a life of self-love, which he then poured into his new film, Aligned (which tells the story of a closeted dancer who struggles to accept his sexuality). The film is a touching gift that audiences will delight in watching.

Read More: 'Aligned' Review: A Gorgeous Meditation on Self-Acceptance

In our exclusive, wide-ranging, and incredibly thoughtful interview, writer and director Apollo Bakopoulos talks about conceiving the story of Aligned from a very personal place, how he uses dance to promote vulnerability and self-acceptance, and his dream of "wanting to hold a safe space for empowerment, deep exploration of identity, sexuality, self-love, and acceptance, particularly with LGBTQ youth."

 

Cinemacy: Apollo, your new film Aligned depicts the story of a closeted dancer–who struggles to accept his sexuality–beautifully. When did you first conceive of the story? What feelings did you want the film to convey?

Apollo: The genesis of Aligned came at a point in my life when I had a personal and profound experience that opened my eyes to deep truths about myself. I noticed that to feel comfortable and love myself, I was relying on external validation and approval. I mistakenly believed that I lacked something, and I maintained self-judgments around that belief and hesitated to be vulnerable enough to explore the delusion that blocked my happiness. It was a profound realization that was life-changing. This awareness led me to consider the conditions of self-love and acceptance and eventually drove me to write a script about these concepts in a way that would feel relatable. 

I embarked on a journey to discover who I would be if my fear of rejection hadn't run my life. Who would I be if I didn’t rely on someone else’s love and approval of me? Who would I be if I followed my heart and lived from my dream? I wanted the audience to experience the sensation of self-acceptance through the character’s dancing, especially how beautiful and natural it can feel to see two men dancing. I wanted these scenes to be playful and innocent and to create a story about intimacy and connection–or the lack thereof–between two people. 

How can two people have an emotional bond and be in a partnership that embraces the authentic soul beyond sexual involvement? This question led me to a deeper investigation of the unfolding connection and love between two men, and how the harmony and conflict in this relational unfurling is mirrored in the choreographic gesture of their dance together. I wanted the men to explore and create a new experience around intimacy through dance that came from a place of innocence and playfulness instead of solely sexual gratification, external validation, and the need for approval.

 

 

C: The camera moves gracefully, gliding around people performing ballet-like dance sequences. What did you want to communicate in those moments, and did you have any inspirations behind that?

Apollo: I've practiced dancing all my years living in New York to better connect with myself. It’s been a path towards self-love and, particularly, love of my body, embracing and loving all aspects of it; including any perceived imperfections. Dance has helped me express emotions and get mentally unstuck when I'm too much in my head. It gets the energy moving again. It's an intimate moment of physical release I can have with myself. Also, dancing has helped me be more vulnerable. We say so much through dance that cannot be expressed in words. Dance helped me be more of who I am and has made me a better person by practicing the principles it embodies, such as joy, discipline, and freedom, whether I am in the act of dancing or not.

There is performance dancing, which is the practice of dance as an art. But there is also the art of living, which is the dance of life. Can I do both? Also, dance allows me to connect in a non-sexual way to others and to overcome any internalized cultural shame around dancing intimately with other men. The call for me was to overcome those limitations and create a film that inspires others to experience true intimacy, grace, and freedom and to express their love authentically in a natural way. When I felt the call, I watched a video shot at a dance retreat in Costa Rica depicting an intimate, male pas de deux. It was one of the most beautiful things I had ever seen, and I related to the viewing in a kind of joyful neutrality. It just felt right to me. It was this experience that made me ask myself: “Why haven't I seen more of these healthy examples of male intimacy expressed in the media or real life?” 

I still don't see men dancing together publicly, except in specific locations for that purpose. I would love to see more inclusiveness instead of the current sequestration. Seeing that intimate Costa Rican dance video inspired me to create a narrative where male dancers would play the primary roles. The feelings that arise in these characters during the film connect them with the audience and allow people to relate to their situation. This situation demands self-acceptance and ultimately the capacity to see the value of being in a society that celebrates inclusivity. 

 

 

C: The themes you put forward in the film are so profound, exploring guilt and shame over a secret sexual orientation, as well as self-rejection and feeling unworthy of love. How personal were these ideas to you, and what do you feel having completed the movie?

Apollo: The story morphed quite a bit over the last three years. The themes of rejection, self-discovery, and self-love in the characters' journey parallel my journey during this time. I, too, have struggled with stories of never being good enough or feeling unlovable. I believe the core, existential issues presented in the film are universal. I worried I would be rejected if the world knew how broken I felt inside. I feared that no one would ever love me for myself if they could see who I am, so I have hidden parts of myself. I also experienced shame around my sexuality as a gay man who came out.

For many, there is deep-seated trauma associated with coming out, not only to the world but also to oneself. Many people encounter challenges in establishing authentic connections with themselves and cultivating sustainable, meaningful relationships. We live in a society that has taken many years to progress to our current position. Often, societies’ core beliefs–structured by society and passed down through families–have excluded same-sex love and marriage. An examination of these morays reveals how shame leads to feelings of separation and inhibits intimacy due to the fear of rejection.

By removing these elements, we can find real intimacy and self-love, and foster community, closeness, and beautiful relationships. Confronting my fears has been essential for an experience of authenticity. As I adopted certain practices and mindsets, as the characters do in the film, I experienced internal healing and stepped away from living in fear, shame, and low self-esteem and towards living in grace and faith.

 

 

C: Can you talk about the pre-production process? After writing the film, what steps did you take until you were ready to shoot?

Apollo: The initial stages of writing and moving into production progressed swiftly. I completed the Greek portion of the script within two months, and within another two months, we were already in production in Greece. It took about four months to commence shooting. This involved bringing together the right individuals, engaging in meaningful conversations, and clarifying the vision.

Additionally, it encompassed casting, scouting locations, and all the necessary preparations for production. However, the most crucial aspect was preparing mentally and spiritually to manage everything effectively. Our inner work constitutes 80% of the process, while the remaining 20% involves taking action.

 

https://vimeo.com/906511515

 

C: What challenges did you face making the film? What were your favorite moments while making the film, and editing?

Apollo: The biggest challenge for me was, and still is managing my expectations. Staying engaged in the process and committing to my personal growth, evolving into the person I knew I needed to be, required trust in the possibility of embracing a new version of myself. Maintaining motivation throughout this journey was crucial to completing the task. The primary challenge was staying focused on the context and cultivating an inner experience that aligned with the project's context because I couldn't transmit something I didn't have.

 

C: Another thing I love about the film is how you list productive self-help steps that can help people stay aligned, such as expressing gratitude and keeping a journal. Do you have any routines that you use?

Apollo: I believe that we are shaped by what we practice and focus on and that we can discipline our minds and thoughts to handle our circumstances more effectively. I value and commit to daily practices such as meditation, writing (gratitude journaling), maintaining a positive mindset, and being part of something bigger than myself.

I also practice breathwork, yoga, dance, and any experiences that help me connect with myself and the divine—a divinity that I often find in my communion with nature. Meditating in nature is my favorite practice. Most importantly, I often check in with my heart, asking the kinds of questions I need to listen to so I lead myself toward peace and fulfillment. 

 

 

C: What do you hope the film achieves?

Apollo: To create a sense of self-compassion within the audience and inspire individuals to break free from the cycle of self-judgment. To coax the question: “Can I accept myself fully in this moment?” Even when change is inevitable, “can I accept myself as I undergo the process of change”? Learning to love and accept the self in this moment allows for the expression of life’s immediacy and vitality. 

The audience should expect some of their values to be challenged as they embark on a journey in Hellas and New York, and I hope that they will fall in love with both places. Perhaps they will question themselves and ask what self-love may mean to them, or consider what they want out of life. To find their bliss, what are they willing to let go of? Additionally, the film aims to inspire the younger generation to consider an example of healthy sexuality, since this sort of representation sometimes seems to be lacking in the popular media.

 

 

C: Apollo Bakopoulos, where were you born, where did you grow up, and where do you currently reside?

Apollo: I was born and raised in Hellas, Greece. I grew up there until I embarked on a journey at 20 years old. Since then, I've lived outside Greece, mostly in international areas.

Initially, I spent some time in Paris as a student and later in London, where I began my career in the industry's early years. Eventually, I settled in New York, where I have lived for the last 14 years. New York is my home, although much of the editing was completed in Hawaii.

 

C: How did you get your start in filmmaking?

Apollo: I started with photography, taking pictures as a child, and then began documenting and making videos at home when we got our first camera. I never thought I wanted to be a filmmaker, but I knew I wanted to be a photographer.

A dear friend of mine who works in production had a conversation with me then, suggesting that I start filmmaking school instead of just pursuing photography. She encouraged me to do that, and I did. Since then, I fell in love with it. Filmmaking has become my life's path.

 

 

C: What have you learned about working in indie film, and what did you wish you knew before you began?

Apollo: When I am grounded and connected I am in tune with my intuition and guidance of my higher self. I find by maintaining my practices and living a life of service, I can move through fear and into trust. I also learned that every experience has a lesson, therefore, I can be grateful for the wisdom. It might have been nice to know everything before I started but then I wouldn't have had my journey. 

 

C: Who are your filmmaking heroes and dream collaborators? Next projects?

Apollo: I love Stanley Kubrick and David Lynch. I would also love to collaborate with people who are passionate about taking their work to the next level by empowering people and creating more LGBTQ context.

 

C: What messages and themes are important to you that you wish to explore in your future work?

Apollo: Holding a safe space for empowerment, deep exploration of identity, sexuality, self-love, and acceptance, particularly with LGBTQ youth. I want to normalize diversity and provide positive role models that foster a healthy self-image and encourage authentic expression.

For more on Apollo Bakopoulos and 'Aligned,' head to https://alignedmovie.com/.

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by Ryan Rojas

Erik Osterholm Reflects On The Bones of Our Mortality

Filmmaker Erik Osterholm has quite an impressive resume. A multi-Emmy award-winning executive producer and director, he's worked on such award-winning unscripted series as CNN's Anthony Bourdain: Parts Unknown and HBO's VICE, which took him to all seven continents and some of the world's most remote corners. However, the most incredible journey he takes, captured in a new short documentary that he co-directed, might just be his most unbelievable yet.

Related: 'My Dead Dad': Honoring a Loved One with a Unique Sendoff

In the new short documentary My Dead Dad, a young woman brings the exhumed skeleton of her recently deceased father on a road trip, to honor his final request. Co-directed by Osterholm and Abby Ellis, the film is mind-blowing, and moving to watch. A jaw-dropping adventure that must be seen to be believed, the film is as much a meditation on mortality as it is a celebration of life. In our exclusive interview, Erik talks about getting involved with the project, the first time he saw the skeleton, and how the film shaped his thoughts on life.

 

Cinemacy: My Dead Dad is a short documentary (25 minutes) that follows a young woman honoring the final request of her recently deceased father: to bring his exhumed skeleton on one last road trip across the country, to eventually be put on permanent display in his former high school. Forgive me, but can you please confirm once more for the record: that this is all real??

Erik: Haha, yes, it is. No one can be totally sure of Christopher Gray’s original intentions (nor were instructions left for his family), but this was his request and one his daughter committed to uphold.

 

 

C: I have never seen anything like this story before. It’s all quite jaw-droppingly shocking! What was your reaction when you first learned of this story?

Erik: The story is fantastic, and I immediately wanted to know more. I loved that it was a journey. And that a family was trying to fulfill an (avant-garde) dying wish.

 

C: You are listed as one of the film's co-directors, alongside Abby Ellis. How did you meet and what was your creative starting point together?

Erik: We met working together on a VICE documentary series for HBO, and we stayed in touch over the years after both going our separate ways from that show. But I originally connected with Olivia (Christopher Gray's daughter and the film's subject) and her story. I knew I wanted to work alongside a talented director/editor who knew how to craft a story and structure, and immediately thought of Abby. I was delighted when she responded as positively to the story as I had, and we rolled up our sleeves and dove in.

 

 

C: Do you remember seeing Christopher Gray's skeleton in person for the first time? What was it like shooting the scene where the forensic scientist brings it into the room for his daughter Olivia to see for the first time?

Erik: Yes, I remember seeing the skeleton for the first time when we went to film with Dr. Hunt. This was before Olivia had seen it as he was still working on rearticulating Mr. Gray’s skeleton. It was shocking… there is a subtle but tangible feeling that this is real; it's not a fake plastic skeleton, but this is real bone, and this was inside a real human being.

The build-up to Olivia's first seeing her father’s skeleton was palpable. She was awash with emotions ahead of it but as you see in the film, she quickly moves from astonishment to recognizing her father.

 

 

C: We eventually learn about the man himself, Christopher Gray, an architectural historian who covered the Streetscapes section for the New York Times while alive. What lessons do you feel the film communicates about appreciating the history of something from a time that’s passed?

Erik: No one knows Christopher Gray’s original motivations, but it's hard not to make the parallels between the skeletal structure of a building–which sees many lives and histories pass through it over the years–as well as the skeletal structure of a human, and the years, lives and histories that it similarly lives.

 

 

C: What challenges did you face while making the film?

Erik: Logistically, we were right there with Olivia and her family as they tried to sort out moving Mr. Gray’s skeleton. Needless to say, that proved to be, quite challenging.

And then you add the emotional aspect of this journey and story, and you have the makings of a great film. It requires a thoughtfulness that other projects sometimes don’t. But that is a good thing. It's what makes this project so special. 

 

 

C: The film has such a cathartic, life-affirming tone, but also such a lightheartedly comic one. In particular, I'm thinking of the scene in which Olivia's young family members see Christopher's skeleton during the Christmas holiday together. Did you have an idea of what you wanted the film's overall tone to be beforehand? Did it change while shooting, or in post-production?

Erik: We always thought this should be lighthearted and warm because that was how both Christopher Gray and his family approached life.

With that said, the story itself is the meaning of the journey. Its commentary on life and death shows how we celebrate the ones we love after they pass. It's deep and serious and we never wanted the film to veer too wacky or comedic and lose that emotional weightiness.

 

C: One of the messages in the film is to “Let that freak flag fly, and be whoever you want to be.” Can you talk about what this message means to you, having now made this film?

Erik: Olivia shares that quote in the film, and it's something her Dad reminded her of often. Like any good journey, it's not the destination that is the point, but how the trip changes you that matters. In this way, I think Olivia reflected on how much her Dad told her to follow her path and ignore any idea that said what she did, liked, or desired could be considered weird or strange, and to just be yourself.

Sometimes the wisdom and messages we receive in life don't land immediately, but take years to sink in. I think being on this posthumous journey with her father reminded her of one of the core messages he kept reminding her to hold. 

 

 

What has the reaction to the film been like so far? 

Erik: Very positive! This is a wacky, heartwarming, and beautiful story that we hoped would inspire questions about how we treat death and loss. And it appears to be landing.

 

C: I’m curious to hear your thoughts on mortality before making this film. What do you think happens when we die? Did that change after going through this experience?

Erik: I have produced several stories around the world including in conflict zones and the aftermath of disasters where mortality and the finite nature of life are very present. It makes you think about how much you need to cherish the time you have, and I think this film helps reinforce that.

As Olivia and her family try to fulfill their father's last wish, they also spend more time with him, doing the things he loved and always asked them to do with him.

 

 

C: Do you have any newfound advice for people who lose a loved one?

Erik: Olivia would be best positioned to advise on the loss of a loved one, but I think what I have taken away from this is how important spending time with the ones we love is. And that when loss eventually comes, there is room to laugh, to cry, and most importantly, to celebrate the lives those people lived while mourning their absence. 

 

 

C: What is the future of this film, and do you have any future creative projects?

Erik: I have always imagined this story to have a second life as a scripted feature, which is a format that would allow you to dive into who Christopher Gray was as a New York Times writer, and build out the backgrounds of his family and characters and to lean even further into the questions of life, death and how to connect with the people we have lost. More updates on the scripted film adaptation, coming soon!

To follow Erik Osterholm, visit https://www.eosterholm.com/

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by Ryan Rojas

Alex Lykos Dares to Disconnect From It All

The next time you're out in public, look around. What do you see? It will likely predominantly be people on their smartphones, living in their own worlds. However, one person you won't see doing that is Alex Lykos.

With his new documentary Disconnect Me, director Alex Lykos does a 30-day digital detox in which he stops using his smartphone to become present with the world. In our exclusive interview, Alex talks about the reason for ditching his smartphone, and his outlook on phones: "Let's talk about our relationship with technology in a pragmatic, mature manner, not in a preachy manner because kids will switch off if we do."

Related: 'Disconnect Me' Attempts a 30-Day Digital Detox

 

What prompted you to take this 30-day smartphone detox, and when did you decide to make a documentary about it?

I started noticing how all-consuming my habits had become. I was looking at my phone over dinner instead of talking to my wife. I wasn’t in the present with my family, enjoying family time. Instead, I was mind-numbingly scrolling through my socials. But I was feeling worse after doing it, causing you to drop into the rabbit hole of comparing your life to those you see on social media. And I was like, "Hold on a second, where is the return on investment here? I’m spending an hour doing something and feeling worse after doing it."

I decided it was time for a circuit breaker, and to hold myself to account, I had a camera follow me. And it just grew from there into this film which expanded into covering a lot more than just my journey.

 

 

What were the first steps you took to begin this documentary?

I wrote a list of some of the things I would like to do during the experiment, one of which was to spend more time outdoors. I did lots more exercise and took up golf again, which I hadn’t played in a while.

 

One of the most unique elements of the film is audience participation, such as when you ask people to raise their hands if they use their phones in the restroom, as well as asking them to vote with their smartphones using a QR code on the screen. How did you decide to include these moments?

You know how at the beginning of the movie, we get that announcement asking us to turn our phones off? No one ever does. So we thought, "You know what, with this film being about that device in their pockets, let's get them to use it."

And if I may add, from the screenings we have had so far, this is a film best watched in the cinema with an audience, because it is a communal experience. There is a very unique energy in the cinema with the film being about a device that everyone is holding. Some are using it throughout the film, some aren’t. There is a very unique energy in the room.

 

https://www.youtube.com/watch?v=zXvV5vcxMWQ&ab_channel=LykosEntertainment

 

A particularly moving moment comes after you reveal to people how their smartphones are made by child laborers, to which they reply it's simply a “necessary evil." How did you feel hearing these responses?

I think the answers highlight just how dependent we are on smartphones, and how hard it would be for anyone who is addicted to their phone to part with it. 

 

What unexpected challenges did you face while making the film? 

The challenges of trying to communicate with the crew, dealing with logistics issues, communicating with family, and coordinating daily routines were the biggest.

 

 

What were your favorite moments in the film?

After listening to the student Angelina talk about her struggles with social media, we hear this extraordinary voice. It moves me every time I watch and is a stark reminder of the potential negative impacts of social media. At our Australian premiere, she came out after the film.

 

What do you hope the film achieves?

If the film can instigate a discussion between parents and their children, or between partners or friends, then that is all we are hoping to achieve. Let's talk about our relationship with technology in a pragmatic, mature manner, not in a preachy manner because kids will switch off if we do. 

 

 

Alex Lykos, where are you from?

Sydney, Australia.

 

Can you talk about what drew you to pursue theater and the arts?

I used to play tennis, and when I stopped playing, I felt lost. Writing allowed me to express what I was feeling, and it just grew from there. The first story I wrote was about the reunion of two best friends: one a professional tennis player, one a professional drug dealer.

 

 

How did you get your start in filmmaking?

I started in the theatre in 2006 and made several shows until about 2013 when I adapted Alex & Eve, our most popular stageplay, for the screen. Alex & Eve's film was completed in 2015.

 

What have you learned about working in indie film? What did you wish you knew before you began?

It is a grind, a real grind. If you don’t love telling stories, it can be very disheartening. You have to love it to make an independent film. That and sound is the most important element of any film.

 

 

Any next projects we should know about?

I am working on a feature film titled The Lady Echindas, another documentary, and a television series titled Jawbone.

 

What messages and themes are important to you that you wish to explore in your future work?

Generally, I like to explore themes relating to the challenges we all face in trying to navigate life, trying to explore the purpose of it all. 

 

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by Ryan Rojas

Louise Woehrle Shines a Light On Our Integral True Stories

The adage goes that the first step to solving any problem is recognizing there is one. This can be quite challenging to do, as acknowledging problems oftentimes comes with needing to face our fears, insecurities, and shame head-on. That is why we need brave filmmakers like Louise Woehrle, whose new documentary A Binding Truth shines a light on a vital story of two friends who learned of their shared family ancestry through their ancestor's slaveholding roots.

Related: 'A Binding Truth' Uncovers a Complicated Familial History

In our exclusive interview, Louise Woehrle discusses how by confronting our nation's dark past of racism and slavery, we can all heal and grow stronger together. She also discusses the behind-the-scenes work of bringing the story to the screen, her production company Whirlygig Productions, and her message for her future film work: "I believe we need more stories that help us see each other with more compassion, understanding, and acceptance."

 

https://vimeo.com/842917169

 

C: How did you first learn about the incredible life story of Jimmie Lee Kirkpatrick, the main subject in your documentary, A Binding Truth?

Louise: I first learned about Jimmie and his story when I was in New York screening my previous documentary Stalag Luft III - One Man’s Story. My cousins Ellen and Katie Holliday attended the screening. Katie is married to De Kirkpatrick, the other central subject in our film. 

 

C: In 1965, Jimmie integrated from his all-Black high school into an affluent white high school in Charlotte. One of his classmates, De Kirkpatrick, shared the same last name. Almost fifty years later, a shocking discovery was made that De's ancestors were slaveholders who owned Jimmie's ancestors. What was it like for you to learn of that moment, and how did you want to handle that in the film?

Louise: It took my breath away because I knew what a shock this was to De. I wanted to tell this part of the story with the truth and in an authentic way. De was more than willing to stay open and honest in pursuing the truth of his slaveholding roots. There were no rose-colored glasses.

 

 

C: What were the first steps you took to begin this project?

Louise: My executive producer, Jay Strommen, and I flew to Charlotte to meet with Jimmie and De. We talked in depth. We listened to them and shared our interest in doing a documentary about their story and why it was so important. They agreed it was a good idea and a good fit - we were off and running!

After that, I knew I needed fundraising tools, starting with a sizzle reel. Thankfully, Jay provided our start-up capital. Next, I went to FilmNorth, located in the Twin Cities of Minneapolis/St. Paul to get our fiscal sponsorship set up through them. They are a 501c3 that has served as a fiscal sponsor on several of my films, thereby allowing contributors to donate to our project as a charitable contribution.

 

 

I next contacted Gary Schwab, a journalist for the Charlotte Observer who had written a 3-part series with David Scott about Jimmie in 2013 and subsequently a story in 2014 about Jimmie and De reconnecting decades after high school. Gary was a wealth of knowledge. Next, cinematographer Chip Johnson, a longtime friend and colleague, and I filmed interviews with Jimmie Lee and De and shot some broll of them in the Sardis Slave Cemetery.

I gathered photos from both men, and Chip worked with me to edit a 13-minute sizzle reel. Next, a friend of De’s, Jock Tonissen, organized a fundraiser luncheon held at Myers Park Presbyterian Church in Charlotte, where I met our lead fundraiser Chuck Hood. Chuck got out there and raised most of the funds with Lauren Batten of Vandever Batten.

 

C: There are several deeply emotional, delicate moments shared between Jimmie and De that you portray sensitively in the documentary. What were those moments like for you to edit?

Louise: Jimmie is a very sensitive person who can share his emotions. Delving into his past was very emotional for him. He says in the film, “When you do this kind of work, your emotional tank needs to be full.” De is sensitive, too, but is more analytical. I mean, he is a forensic psychologist, so that makes sense.

When we were editing the film, it was my goal to show both men in their true light. Thank you for saying that those moments were handled with sensitivity.

 

 

C: You contextualize their story by also showing parts of our nation's larger, problematic history with racism and slavery, using incredible archival footage. In particular, I was so moved to hear the voice recording of the former enslaved Fountain Hughes. How did you go about finding all of this footage?

Louise: The research never stopped from pre-production through post-production. It takes a lot of time and due diligence. We found incredible images and footage. When I heard the Fountain Hughes recording from the 1930s, I knew he was our link to help connect the past to the present. What he says is so powerful as a former enslaved person.

Most of the images were found through various archives in Charlotte libraries and museums, while others were found in the National archives. I had dedicated researchers on the project, so it wasn’t only me digging for gold.

 

C; What challenges did you face while making the film? What were your favorite moments in the film?

Louise: I would say telling the story of Jimmie and De when they first met nine years ago was challenging, but I think we figured it out. One of the biggest challenges was letting go of some great stories that did not make it into the film. My goal was to keep the length at 90 minutes. It was so tough.

One of my favorite moments in the film is when we are surprised by Emma, age 92, with her uncanny ability to read people, her humor, and her honesty in talking about her own family’s history as slaveholders. Another moment is when Jimmie takes us back to his past with his son JJ, and De’s time in the cemetery with Jimmie, with a voiceover of De reading prose he wrote titled White Bones. 

 

 

C: While your documentary uncovers a lot about the past, the film also looks towards the future, with the message about how we must acknowledge our atrocities and have difficult conversations with each other to learn and grow. What do you hope people take away from the film?

Louise: I hope that people will see themselves somewhere in the film and relate to the stories - be touched in some way. I believe that when we are awakened by the truth, it allows us to see things through a new lens. The truth is what I hope is conveyed through Jimmie and De’s stories. How people react to the film will be theirs to share, hopefully in positive ways.

We have already witnessed that the film sets the table for personal conversations about race and the Truth of America’s Slave history and how that ties to racism today. I know that Jimmie and De show us a way forward.

 

C: Louise Woehrle, where are you from?

Louise: I grew up and live in Minneapolis, Minnesota.

 

C: How did you get your start in filmmaking?

Louise: I was previously an actress in theater and on-camera, doing commercials and voiceover work. My first job as a producer was at a small production company. The owner had seen a Birthday video I was working on for my dad and his twin brother. I was still married at the time. The co-owner of the production company asked how long I had been a producer, and I told her that I wasn’t a producer. She said, “Yes, you are,” and told me that if I ever wanted a job, she would hire me.

So, when I got divorced, my two boys were 5 and 8 years old, and I needed a job - I took that lovely woman up on her offer. That’s where I learned to be a filmmaker and all the various aspects that are involved. It was like getting paid while going to school.

 

 

C: Can you tell us more about Whirlygig Productions, the production company you founded in 2002?

Louise: After working at that small production company for 3.5 years, it was time for me to fly on my own. So in 2002, I committed to telling stories that mattered. I started my company Whirlygig Productions as an independent filmmaker. There was no studio, only me.

I created a mission statement for Whirlygig: “Telling stories that help us see ourselves and others in new ways, promote healing, and connect us as human beings.” I have stuck with that mission and love that I get to serve as a conduit for stories that matter. For me, that means shedding light on important stories that need to be told that can serve as catalysts for change.

 

C: What have you learned about working in indie film, and what did you wish you knew before you began?

Louise: I have learned so much about myself and what matters to me by telling stories about so many different people, places, cultures, and causes. I realize the power of storytelling and how much we can learn from each other. I also feel it's a privilege to shine a light on stories that can positively affect lives and how important trust and integrity are in being able to do that.

 

 

C: Who are your filmmaking heroes and dream collaborators?

Louise: I have many film heroes, but in the documentary world, I would say Ken Burns and Waad Al-Kateab.

 

C: What messages are important to you that you wish to explore in your future work?

Louise: I’ve always been interested in mental health and being there for young people. We need to shed more light on trans young people and their stories. There are far too many deaths by suicide, and I believe we need more stories that help us see each other with more compassion, understanding, and acceptance.

 

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by Ryan Rojas

Elan Golod Preserves History Through Our Elders' Unheard Stories

With his large eyeglasses, thick suspenders, and slumped posture, Nathan Hilu may appear at first glance to be just an elderly man on a couch. But by looking closer, intentionally listening, and putting a camera in front of him, we learn that he's a man not only rich in stories but with an abundance of artwork that illustrates pivotal moments in world history. And bringing this man's life and stories to the screen is Elan Golod, director of the new documentary, Nathan-ism.

Nathan-ism tells the life story of Nathan Hilu, a Jewish veteran who guarded the worst criminals responsible for the Holocaust following WWII. But as the documentary reveals more about the expressive Nathan through seeing him sketch his quickly drawn cartoons–capturing monumental life moments relying on memory alone–we also learn that there may be some questions as to the authenticity of the stories as Nathan remembers them.

Related: 'Nathan-ism' Explores Truth and Narrative Through This Cartoonist

In our exclusive interview, Elan Golod shares the process and challenges of making Nathan-ism, the film's upcoming screening at the Nuremberg Memorial ("It’s incredibly gratifying that Nathan will have his story shared in the very room where many details about the Holocaust were brought to light"), and the biggest takeaway after making the film and working in independent filmmaking.

 

How did you first learn about Nathan Hilu, the subject of your documentary and directorial debut, Nathan-ism?

I was going down the internet rabbit hole searching for potential documentary-worthy stories and I came across an article in a small Jewish magazine about Nathan Hilu and an exhibition he had had at the Hebrew Union College Museum. I was immediately struck by the dramatic circumstances of his Nuremberg experiences.

I was also intrigued by the cognitive dissonance of this heavy subject matter treated in these vibrant Crayola colors, unlike much of the existing canon of Holocaust-related art. That felt inherently cinematic and worthy of deeper exploration of the person behind these visual memoirs.

 

 

 At the beginning of your film, Nathan shares that there are many art “isms”: Futurism, Impressionism, and now, “Nathan-ism.” How would you describe the “Nathan-ism” art style to audiences? 

If "Nathan-ism" were featured in art history books it would probably be defined something like this: Rooted in the expressive storytelling of individuals like Nathan Hilu, this distinctive approach involves the skillful translation of personal narrative into a vibrant visual language, creating a unique fusion of storytelling and artistic expression that immerses viewers in the intimate and vivid landscapes of individual memories.

 

 

At first glance, Nathan’s art might appear amateurish and childlike to viewers, made with markers and crayons. But they are deceptively deep once you see that the cartoons are his life’s memories, specifically of being a Jewish prison officer guarding the highest-profile criminals of the Holocaust during the Nuremberg trials. What do you find striking about the juxtaposition between his playful cartoons and their grave historical subject matter? 

To me, Nathan’s drawings offered a unique opportunity to convey a narrative linked to the Holocaust from a fresh perspective, diverging from the conventional portrayal often seen in previous Holocaust films. So much of the visual documentation of the Holocaust is in black and white which leaves the viewer somewhat removed. In stark contrast, Nathan’s artwork feels like it is bouncing off the page and screaming at you with the same urgency as Nathan’s storytelling style.

  

What were the first steps you took to begin this project? 

After reading about Nathan Hilu online, I reached out to Laura Kruger, the curator of the Hebrew Union College Museum. She provided me with Nathan’s contact info but warned me that he was “quite the character” and that he wasn’t the easiest to deal with.

I cold-called Nathan and explained my interest in documenting his story. Initially, it took some time to gain Nathan’s trust and get him on board with the project. I visited him over several months without any camera or recording equipment, just sitting and listening to his stories over coffee. Nathan was very excited to have a willing audience for his stories and eventually felt comfortable enough to start sharing his stories on film.

 

 

What was the process like to bring Nathan's artwork to life using animation?

From the outset, I felt that harnessing Nathan's vibrant artwork with the right animation treatment could authentically immerse viewers in his deeply subjective perspective. During the conceptualization phase, I stumbled upon the work of Héloïse Dorsan Rachet, a Paris-based animator who had done beautiful animation sequences for Michelle Steinberg's documentary "A Place to Breathe." Rachet's animation style, with its childlike and innocent quality, left me convinced she could effectively replicate Nathan Hilu's unique artistic flair.

To ensure the animations stayed true to Nathan’s original work, we embarked on an extensive series of animation tests, prioritizing authenticity above all. Nathan's abundant drawings, featuring key figures from the trial and pivotal scenes within the narrative, served as an invaluable visual foundation guiding our meticulous animation process.

 

https://vimeo.com/815880849

 

What challenges did you face while making the film?  

My relationship with Nathan was not the traditional filmmaker-subject relationship. While Nathan's personality added a captivating layer to the narrative, it also posed occasional challenges during the filmmaking process. Each time we filmed with Nathan, it was like a “show-and-tell” session in which Nathan shared the stories behind his last batch of drawings. Nathan was very much intent on crafting his narrative, leaving little room for interjecting questions. Here and there, by curating the drawings I had him talk about, I was able to steer the conversation towards the topics I wanted to cover. 

For the research about Nathan’s military service, I was unsure what our digging would unearth. At times it was a struggle to wait patiently while our archival research attempted to shed more light on Nathan’s time in Nuremberg. But as viewers will see in the film, the patience paid off. 

 

 

As you just touched upon, the film takes an unexpected turn when it’s brought into question whether or not Nathan actually lived each of these experiences as he says he witnessed. This being a documentary, and you being so close with Nathan as a person, what was it like for you to include this part in the film? 

This is an aspect I discussed extensively with my therapist. Navigating the intricate relationship between my roles as both a filmmaker and Nathan's friend demanded a delicate balance. I intended to thoroughly delve into Nathan's life story and delve into the depths of his psyche while avoiding the risk of putting his memory on trial in the process.

This required a nuanced approach, where our friendship served as a foundation for trust, allowing the exploration of his narrative with sensitivity and respect. I’m thankful to say that despite some tense moments featured in the film, I managed to maintain my friendship with Nathan until the very end.

 

Nathan-ism will have a special screening at the Nuremberg Memorial on February 13th. What does having this screening at such a sacred site mean for you? 

I am truly humbled by this honor and I’m beyond excited that Nathan’s legacy and this film will have such a full-circle moment. It’s incredibly gratifying that Nathan will have his story shared in the very room where many details about the Holocaust were brought to light. In 1945, the four allied powers behind the Nuremberg trials had hoped that the trials would deter future aggression by establishing a precedent of holding war criminals accountable in international court. So it is very unusual and timely to showcase this film as conflicts persist in the Middle East and Ukraine

 

 

What would you say is the biggest thing you learned from Nathan, and what do you hope people take away from the film? 

The most actionable lesson I learned from my time with Nathan is taking the time to listen. There are so many elders like Nathan, who have an abundance of remarkable stories waiting to be unraveled. Taking the time to truly listen not only honors their wealth of wisdom but also forges meaningful connections that transcend generational boundaries. In a world bustling with noise, dedicating moments to absorb and cherish the narratives of our elders becomes a powerful act, unlocking a treasure trove of experiences that might otherwise be lost to time.

 

 

Let’s get to know you better! Elan, where are you from, and how did you get your start in filmmaking?

Raised in Israel to an American mother and Israeli father, my journey unfolded with an unexpected twist as I found myself creating training videos as part of my mandatory service in the Israeli army. Post-army, I pursued a deeper understanding of filmmaking at New York University and went on to work as a film editor on both scripted and documentary films. This collaborative learning experience has significantly shaped my directorial approach. 

 

What have you learned about working in indie film, and what did you wish you knew before you began?

Unfortunately, I've become increasingly aware of the challenges facing the documentary filmmaking landscape, with market trends narrowing the range of documentaries able to secure distribution. Nevertheless, I maintain a hopeful outlook for the emergence of fresh opportunities for daring documentary content, and I am determined to actively contribute to this essential transformation.

 

What messages and themes are important to you that you wish to explore in your future work?

I am currently deeply intrigued by the concept of legacy and the imprint we leave on the world long after we're gone. At the moment I’m starting to explore a story related to this idea from within my own extended family.

For updates and more information on 'Nathan-ism,' head to the film's website.

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by Ryan Rojas