First Time Go

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

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

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

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

The word paikar is Persian for "war" or "warrior" and what you're getting from a documentary of the same name is war, of a sort, but layered among so many levels: the war within a family, the war in Afghanistan, the war within the director's own self. This is filmmaking at its highest level, and I'm so thrilled to be joined by director Dawood Hilmandi today to talk about his truly epic directorial debut, which screened at this year's Hot Docs.PAIKAR (2025)'s logline: "an Iranian expat journeys back to his homeland, where he must face his domineering father and grapple with complex emotions about family ties, cultural identity, and his place in the world."I've spent 18 months in Afghanistan and it holds a special place in my heart. Let's celebrate people like Dawood who have given so much to make their art a reality.In this episode, Dawood and I discuss:what his father would think of his film;how he got started in filmmaking;what made him decide to do PAIKAR as his directorial debut;the blend of languages in between Iran and Afghanistan and why the landscape is so important in understanding the film;what people should know before watching the film and how they should feel afterwards;the technical aspects of the film and how he decided how it was going to go -- at least in the beginning;why did he choose the festivals he did for his film;the release date for the film;what's next for him.the state of film in Afghanistan.Dawood's Indie Filmmaker Highlight: Aboozar AminiMemorable Quotes:" He would be grateful or he would feel good that it's not against him. It's more like for him or because of him."" The filmmaking, it has a long history in my family. Even as a child we were not allowed to watch films, so we were forbidden to watch films.""I need to share untold stories."" It's like when once you leave your country is almost like the memory of a home that maybe doesn't exist anymore. So you keep desiring that home. You keep thinking of it."" Just be patient with the emotional moments and with the silences in the film."" I have a different kind of connection to IDFA because I used to go there and watch films, like days nonstop, watching six films a day."" We're starting a new era of Afghan films and new sort of new type of films. Links:Follow Dawood On InstagramPAIKAR Trailer

Watch This Episode On YouTubeEvery Sunday, I'll post a quick video -- and podcast -- about an indie film from at least a year ago. Today's film: FOUR LETTER WORDS (2000)Director: Catherine BreillatWriter: Sean BakerStars: Henry Beylin; David Ari; Darcy Bledsoe; Fred BermanSYNOPSISA study of the post-adolescent male psyche looks at their views, attitudes, and language.Subscribe to our YouTube channelFollow us on LetterboxdFollow us on InstagramFollow us on XFollow us on FacebookFollow us on TikTokFollow us on LinkedIn

The kind of filmmaking that my guest, Vanessa Esteves, does is all encompassing -- job, hobby, passion. And that shows through in her latest work, CHRISTOPHER & THE BUG (2025), a "heartwarming short film about a reclusive owl whose peaceful solitude is disrupted when a tiny bug unknowingly moves into his home."We talk about why we don't see the bug, what college roommate inspired her to write this story -- not in a good way!; animated films and screentime for kids, and more.If all of our films were given the thought and love Vanessa gives her directorial debut, we would be in such a better place.In this episode, Vanessa and I discuss:do we see the bug in CHRISTOPHER & THE BUG?how she got started in filmmaking and why she decided this would be her directorial debut;what is it like producing animated films and if it is an easy jump back to live action;the lessons she's learned from producing films that she brought to CHRISTOPHER;how to tell the story on a run time of 11 minutes!;the challenges of specifically an animated film;why sound design and score were so huge for this film;the idea that animation is just for kids and how it is different in the short film world;how we can improve families and filmmaking;her day job at Boatrocker Studios as a senior director for creative affairs, kids & family, and how she feels about screentime for kids;what it's like being a filmmaker in Toronto and what's next for her.Vanessa's Indie Film Highlight: GYMNASTICS (2025) dir. by Nikki Buziak and Leo FafardMemorable Quotes:" We call it a bedtime story for adults."" The reason that you never see the bug is because I don't want it to necessarily just be a bug, right? If we showed the bug, then it's a film about an owl and a bug, and then it definitely feels like it's for kids.""I was living inside childrens' entertainment."" Honestly, storytelling is storytelling, so whether it's going to be animated or if it's going to be live action...it really is you're working with the scripts and you're focusing on the story, so the two are very interchangeable.""I learned how to tell stories on a small scale.""The sound design was huge for us and score was huge. We called score our other main character because we needed the score to be so powerful that it would draw you through, right?"" When you look at more mainstream animation, you're going to see more often, I think, blockbusters that are animated are usually for kids or family viewing. But in the short film world, it can really span everything, all the ages, all the genres."" I often say that it's not just my job, it's also my hobby, which is so true because filmmaking has been a part of my life since I was a kid."Links:Follow CHRISTOPHER & THE BUG On InstagramFollow Vanessa On Instagram

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

Watch This Episode On YouTubeEvery Sunday, I'll post a quick video -- and podcast -- about an indie film from at least a year ago. Today's film: LAST SUMMER (2023)Director: Catherine BreillatWriters: Catherine Breillat; Pascal Bonitzer; Maren Louise KäehneStars: Léa Drucker; Samuel Kircher; Olivier RabourdinSYNOPSISSuccessful lawyer Anne leads a happy life with her husband Pierre and their two daughters. But when she begins an affair with Theo, Pierre's son from a previous marriage, her career and family life are in jeopardy.

Watch This Episode On YouTubeThe film SEAWEED SNACKS (2026), which screened at Slamdance this year, was so moving for me as a father that I wanted to talk with the person that directed it -- Sylvia Ray, a great episode, you can find it linked in the show notes -- and my guest today, the writer, Brandyn Johnson.What does it feel like when someone else directs your words? Why the focus on fatherhood? What is it like mentoring young up and coming filmmakers at Ghetto Film School? Is a USC grad education worth it? We get into all this and more with Brandyn, a brilliant filmmaker and writer currently based in Los Angeles.Finally, we talk about suicide in this episode. If you're struggling, there are resources, starting with 988 if you need someone to talk with about your journey. Kindness truly is currency, as Brandyn says on the show; we want you sitting next to us at the birthday party.n this episode, Brandyn and I talk about:why the topic of fatherhood is so important to him;how much he believes in "write what you know";his start in filmmaking and the incredible work he does for Ghetto Film School;whether teenagers are benefiting from a filmmaking perspective from constant access to video-making devices;his recommendations on an MFA from USC;the experience of watching someone else direct your work as he did in SEAWEED SNACKS;the honesty he tried to imbue in the film;as a writer, what kind of story would he not be comfortable giving away?is it an ego thing connected with just being "writer/director"?the humility associated with giving up your story as a writer in order to get it made;his personal new film, COPARENTING STOREY;what's next for him and why he's so passionate about storytelling.Memorable Quotes:On fatherhood: "Just generally speaking, it's right in front of my face."" Hats off to filmmakers who can write things and build worlds that might not necessarily directly reflect where they come from.""Access in that way is really great for the folks who are aware of that access."On Ghetto Film School's art: "as long as they are making things that prioritize story."" I've been doing this work for almost 20 years, right? So...the reason why I keep doing it is because...it's definitely great to see young people find power."" As a storyteller, our best stories come from our experiences.""It's hard to be creative when you have broke goggles on."" I pitched projects that I knew I would be okay giving away."" If there's one thing that USC is really great at is, it helps you, it forces you to be a great collaborator."" And I think that's also what SEAWEED SNACKS was about. I just want it to be honest.""The soul is in my words."On COPARENTING STOREY: "It's all built around, like the ability that we have to design the kind of life that we want to see.""If I'm going to be here, I'm going to make a net positive impact."Links:Follow Brandyn On InstagramFollow Ghetto Film SchoolCOPARENTING STOREY On Film IndependentWatch Sylvia Ray, director of SEAWEED SNACKS

Watch This Episode On YouTubeThe words "artist, writer, and director" that my guest, filmmaker Suki Chan, uses to describe herself, do not come close to encompassing the artistic brilliance of her feature directorial debut, CONSCIOUS (2026), which she premiered at CPH:DOX this year in Denmark.The film delves into the stories of three people who "navigate dementia in transformative ways", and even that gives short shrift to what we see on screen. I don't think I've seen a documentary get closer to explaining the frailty of the human mind in visual form.It's no surprise to people who've seen Suki's art, though -- they say this gorgeously shot film is in line with her signature style. I cannot wait for you to see this film and for what's next for Suki.In this episode, Suki and I talk about:how she decided to approach making CONSCIOUS and what that tells us about documentary filmmaking;how she went from a fine art degree to expanding into moving image;her signature style, whether it's sculpture or a film;the medium of documentary and where she thinks it's going in the future;incorporating dramatizations into the film and what she learned about that process -- and people who wanted to play themself!;how she assembled a team that does not normally work on documentaries;what's next for her and when can viewers get an opportunity to see this brilliant film.Memorable Quotes:" I didn't set out to make a film that was at such a high level for documentary. I made the film in the way that feels the most natural to me as an artist."" It then made me realize that dementia wasn't just gonna be one chapter. It was actually quite integral to understanding consciousness."" I decided to create moving image, because for me, it's something that can unfold over time. And I think people always describe my sculptures, my installations as being cinematic and working with lights and shadows."" How come we don't see the brain? How come you're talking about consciousness? And we don't see the brain?"Links:Follow Suki On Instagram

Watch This Episode On YouTubeEvery Sunday, I'll post a quick video -- and podcast -- about an indie film from at least a year ago. Today's film: YEAST (2008)Director: Mary BronsteinScreenplay: Mary Bronstein; Greta GerwigStars: Mary Bronstein; Greta Gerwig; Benny SafdieSYNOPSISA maddeningly oblivious, tyrannical and emotionally stunted young woman tries her best to negotiate two toxic friendshipsSubscribe to our YouTube channelFollow us on LetterboxdFollow us on InstagramFollow us on XFollow us on FacebookFollow us on TikTokFollow us on LinkedIn

Watch This Episode On YouTubeOnly a Marine could get away with writing a novella entitled -- let me make I'm sure I got this right -- "Let's Murder the Fuck out of Baby Hitler." And even then, maybe only a Marine who is a filmmaker and screenwriter.Fellow redleg Eric Leja (servicemember assigned to the artillery branch) returns to the podcast to talk about his new novella which is he is hoping to turn into a feature or a series; the reaction to such a provocative title in an industry that claims to support free speech; the lumping of veterans immediately into the red hat crowd, and more.He asked me, are you sure you're okay with the title? Fuck yeah, I'm okay. I'm supporting fellow veterans till I die. We do touch on politics in this episode, which I'm usually loathe to do because you hear enough of this stuff on everything other than a film podcast. But if you do hear something you disagree with, certainly as it relates to the film industry, I'd love to hear why.And that brings us right back to where we started: Eric's novella. Spoiler alert, no babies are actually harmed. The whole point of it is to think about our current situation in a new and hopefully funny way. And to let Eric turn this into a feature film. Fire for effect, I'm cheering him on.In this episode, Eric and I discuss:how the catchy name came about;what he's been up to since the strike;why he decided to self-publish on Amazon and the amount of money he makes per sale;the chilling of speech and how that's different than Hollywood at any point in Eric's lifetime;how far he decided to go politically in the novella;the assumptions made about veterans in film and politics;what the future of the novella is;the challenges facing the business right now and the power of dentists in filmmaking!Eric's Indie Film Highlight: GODMOTHER dir. by John VeronMemorable Quotes:" I don't think it's ethical to Hitler-ize my children."" if things keep going like this unchecked, this is what it's gonna look like and it's gonna be, dystopic far right version of America. That was what the screenplay was about. And it came from a place of anti extremism."" Everyone's horrified to do anything right now."" I've never seen in my lifetime out here, like these corporations also having to fight for attention from the government and a constant approval as well."On the expectations of being red-pilled as a veteran: " I've noticed a lot of sighs of relief when I like reveal that I'm not like that."" People have literally said to me like, I think it's so cool that you're a veteran, but you're not like one of those veterans."" Nobody at like Warner wants to be the guy holding the TV show with three showrunners that's struggling to get off the ground when Paramount buys 'em."Links:Buy LET'S MURDER THE FUCK OUT OF BABY HITLER NowFollow Eric On Instagram

Elected at 26 to the New York State Assembly, my guest today, filmmaker Rafael Espinal says it was easier to become a politician than chase his dreams into indie film. Think about that for a moment!Now he's helping you achieve your dreams by serving as commissioner of New York City Mayor's Office of Media and Entertainment, or MOME. And what I mean by that is I didn't expect him to be so in tune with the plights of independent filmmaking, in New York City and elsewhere. We talk about the challenges of indie filmmaking in NYC, including improving permitting; how it can be competitive globally; childcare in the city and how that affects filmmakers; the hopeful rise of more diverse voices, and more.All that said, the main takeaway if you're out there wanting to make a film career in NYC, he's on your side. And if you want to move your production studio or career to the best city in the world, he's the man for that as well.I don't think you can listen to this episode and not be bullish on the prospects of making a film in New York City over the next few years.In this episode, Rafael and I talk about:why he is the best person to lead the NYC MOME right now -- he's an indie filmmaker as well (he made his first film recently);what he's going to do with his film -- festival route? YouTube? -- and how that affects how he runs MOME;what does the commission do for me?;his sympathies (but honest advice) for the filmmakers not applying for permits in the city;his comments when taking the job that " the systems are extremely archaic in a way that creates a burden on production companies" -- have things improved?;production space in NYC and the role of AI in the built environment;how the Mayor's goal of free childcare throughout the city will influence filmmakers in the city and what MOME can do to help;diversifying the industry in New York City and how making it "look like our subway cars" actually happens;whatever happened to the Alliance for Downtown New York's Filmmaker in Chief initiative and how we get MOME's name out there in terms of outreach?how does NYC plan to stay competitive in attracting global productions?his goals for the next few years.Memorable Quotes:" Just recently, I made my first professional short film that I've been working on."" Like every filmmaker, we sit at home thinking about, how do we get exposure, who's gonna help us produce and make our first film?"" What I'm most proud of about the team here at the film office is that the folks running the permit system are actually independent filmmakers themselves."" If you want to ensure that you don't have the NYPD or any other agency come down and shut down your production, the best thing you can do is come to us.""[I] remember what it is to be someone who's just trying to make their film, who is looking for their way into the industry. And that's what I bring to the table."" Our dream here is to see a film industry and a film landscape where the workers and the directors and the folks on sets look like our subway cars, right?"" Going to the DMV is not the most pleasant experience, and I don't want filmmakers to feel like going to MOME feels like going to the DMV, right?"" There are folks out there, investors doubling down on building stages in the city of New York."" It was easier for me to become a politician than it was to be a film director."" We haven't fully baked it yet, but I'm thinking about how do we replicate that idea and create filmmakers in each borough."" At the end of the day, top line, I would love to say that New York has become the easiest and most affordable place to make a movie."Links:Follow Rafael On InstagramFollow MOME On Instagram

Watch This Episode On YouTubeEvery Sunday, I'll post a quick video -- and podcast -- about an indie film from at least a year ago. Today's film: HAPPYEND (2024)Director: Neo SoraWriter: Neo SoraStars: Kurihara Hayato; Hidaka Yukito; Ayumu NakajimaSYNOPSISFriends Yuta and Kou, about to graduate, sneak into school. They pull off a terrible prank and face unforeseen consequences as graduation approaches.Subscribe to our YouTube channelFollow us on LetterboxdFollow us on InstagramFollow us on XFollow us on FacebookFollow us on TikTokFollow us on LinkedIn

One time, it might be a coincidence. But time after time, if you're going to areas that make other people afraid, like underground fight clubs in Asia or the Chilean Andes or like in her latest film, SILVER (2026), a mine in Bolivia, that's your hallmark as a filmmaker.You can say that about my guest, brilliant director Natalia Koniarz, whose film SILVER won the Documentary Feature Grand Jury Prize at this year's Slamdance film festival. No explanations, no interviews, just gorgeous cinema about a Bolivia mine that needs to be seen on a big screen.Will it? How can we do that? We discuss that on this episode, as well as being absolute brave as hell. When I'm sleeping in my warm bed, I thank God for filmmakers like Natalia.In this episode, Natalia and I discuss:what do all the awards tell her about SILVER? And what does it feel like?what should people know about the film before watching;how she got such immersive footage of the mines that few films have achieved;did anyone tell her she needs to offer more explanations in the film?;how she knew she wanted to get involved in filmmaking;her next film will be about underground fighting in Asia -- what draws her to otherworldly topics?the distribution process and the challenges of seeing a doc like hers in a theater;indie filmmaking in Paris and Poland;what's next for her.Memorable Quotes:" It's a very immersive film where you have to immerse into the world. There is no explanation of history or there's no interviews."" I was asking the miners and people around how they would make the film."" I've met people who have been completely crushed by the film and I met those who haven't felt anything. And I think it's the way that things exist in the art."On her film's topics: " I have this feeling that they are choosing me more than I'm choosing this."" I don't treat fear as something bad."" That's actually a game changer also...how easy it is in Europe, easier to have co-productions between countries."Links:Follow Natalia On Instagram

Watch This Episode On YouTubeLet's all wish happy birthday to filmmaker Victoria Trow, whose film ERUCTATION (2026) won big at SXSW this year -- not at all surprising once you watch it.That said, when you first read about it, at least for me, it was...a film about what? Burping? Then you watch it and realize you're in the hands of an ultra-talented admaker and filmmaker for six quick minutes that makes you know right away that she's going far.Her attention to detail, use of color and sound, all make ERUCTATION and Victoria one of my favorite films -- and guests -- of the year. Happy birthday, Victoria! Hope today is a great one.In this episode, Victoria and I discuss:how excited she was to attend SXSW this year, even before knowing her film would win!;her start in filmmaking and all of the things that led up to the incredible cinematic experience of her film;the evolution in her thinking from considering herself just a writer to directing films;what part of advertising work she dislikes;the crazy reactions to watching ERUCTATION or even just hearing about the topic;how hard it is to get comedy right in advertising;why the incredible 6 minute run time for ERUCTATION;does she read reviews for her films?the essential palette to the film and the amazing sense of place;her approach to going to SXSW;what's next for her and jumping between narrative and documentary.her advice for indie filmmakers and work with Charli XCX;artists compartmentalizing their talents -- they shouldn't!Victoria's Indie Filmmaker Highlights: Mike Egan; Victor GabrielMemorable Quotes:"15 years in advertising and 15 years plotting my escape."" And then this project literally burped in my face, so I thought maybe this is the one to try it.""Do you wanna make a documentary about burping? They would laugh like you are now. And then I think. yeah, I just wanna make something fun and dumb and make something that can be beautiful."" Let's make a burp joke, but treat it seriously with reverence." "This should feel like Portland in the rain.""Don't be afraid to talk about your ideas."Links:Follow Victoria On InstagramVictoria's Website

Watch This Episode On YouTubeEvery Sunday, I'll post a quick video -- and podcast -- about an indie film from at least a year ago. Today's film: ADOPT A HIGHWAY (2019)Director: Logan Marshall-GreenStory By: Logan Marshall-GreenStars: Ethan Hawke; Elaine Hendrix; Diane GaetaSYNOPSISWhen an ex-convict finds an abandoned baby in a dumpster, he gains a new lease on life, deciding to dedicate himself to making sure the child has a good life.Subscribe to our YouTube channelFollow us on LetterboxdFollow us on InstagramFollow us on XFollow us on FacebookFollow us on TikTokFollow us on LinkedIn

Watch This Episode On YouTubeHere's a challenge: watch the first few minutes of ROAD TO L'ETAPE DU TOUR (2026) and not get the sense you're seeing a documentary. Impossible because the film is that good about its comparison to real life. The logline: facing a turning point in her life, a woman with a congenital heart defect embarks on a journey to train for a famous cycling race.It's all narrative, but the heart of the film, just like all her other art, is from its director, Julia Coulter, who you can tell from this discussion puts her whole being into her art.The opening segment is Julia talking about her lighting decisions in BROTHERS (2021), which you should watch. It is cinema at its highest level. Julia takes a couple of actors, a single location, and makes something that will stay with you for a long time. The film is linked below.I felt so lucky to watch her films and hear about how much love she puts into them, and I think you will feel the same way, too.In this episode, Julia and I talk about:why she made a narrative film that feels like a documentary in parts;how she came up with that brilliantly moving first scene, performing a stress test, and how that sets up the character for the film;her hopes to inspire others through her film;her start in filmmaking -- writing, directing, and acting! -- and how she figured out which to do in her first two short films;did the classical acting education help her craft?her lessons from casting films from an actor's perspective;her deeply personal film, BROTHERS, and what she took away from that experience in making such a moving film with just three characters and a hotel room;why we don't see more shorts like BROTHERS and HABIT (2022), which are so refined in run time, story, and cinematography?her advice for people directing other peoples' writing;whether it would be harder for her to give up directing or acting;the financial hurdles of making her first feature;the ending of ROAD TO L'ETAPE DU TOUR and the feeling she wants to give the audience;whether actors as directors handle complexity better in a story;why Cinequest and what she's looking for at a festival;what's next for her and the film.Julia's Indie Film Highlight: DICK JOHNSON IS DEAD (2020) dir. by Kirsten Johnson; CLOSE (2022) dir. by Lukas DhontMemorable Quotes:"It's something that we see very intense, like athletes doing, but never in the context of hospitals have I seen that on screen.""I was very inspired by mumblecore.""If I wanted to create something, then I could just go out and do it. I could go out and write it. And so that gave me the freedom that acting alone doesn't where you are waiting on somebody else and their opinion of you or their opinion of your skills.""Do I have such a clear vision in my head when I write things that I really want to be the director? I think the answer to that is yes.""I always try to center myself on what do I want to watch and what would I go and see and what would I be interested in feeling from seeing a film? That's what I think is matters in the end.""Giving yourself constraints is actually helpful sometimes."Links:Follow Julia On InstagramWatch BROTHERS (2020)

Watch This Episode On YouTubeEvery Sunday, I'll post a quick video -- and podcast -- about an indie film from at least a year ago. Today's film: THE WOMAN IN THE FIFTH (2011)Director: Pawel PawlikowskiStory By: Douglas KennedyStars: Ethan Hawke; Kristin Scott Thomas; Joanna KuligSYNOPSISTom Ricks, estranged from his wife and daughter, travels to Paris to try and reunite with them, but he's left dejected when his wife slams the door in his face. Then, one evening, he meets Margit, a beautiful and enigmatic widow. They embark on a passionate affair - and she seems to have real faith in his creativity. Before long, a series of disturbing events begin to cast doubt on whether she is all she seems.Subscribe to our YouTube channelFollow us on LetterboxdFollow us on InstagramFollow us on XFollow us on FacebookFollow us on TikTokFollow us on LinkedIn

Watch This Episode on YouTubeWhen you watch SOUVENIR (2025), you know you are watching something incredible -- filmmaker Renée Marie Petropoulos brings the power of cinema to the topic of relationship abuse. And what I mean is that she uses the full force of the medium to craft a story of what it really looks like in the modern age.It's like nothing I've ever seen before, and SXSW agrees -- it won the 2026 narrative shorts competition. The jury said, "Led by moving, raw performances, this film meets viewers in an intimate space. Layering the complexities of love, trust, and the vulnerability of being perceived, this short is a beautiful piece of storytelling that sheds light on the most intrinsic and intimidating aspects of relationships and girlhood.”We talked before the festival, but it was obvious that the film is something special. And so is Renée.In this episode, Renée and I talk about:what about SXSW does she love as a festival;how she got started in filmmaking;the success of her thesis film, TANGLES AND KNOTS (2018), and the expectation of a Columbia MFA;the Australian diaspora at festivals like SXSW and what it feels like when taking a film to an international festival;the remarkable and unique story behind SOUVENIR (2026);how she chose to portray abuse "through a realistic take on the cycle of abuse, through an accumulation of small, painful moments" and what does a poor portrayal of abuse look like?her goals at SXSW for the film;advice for filmmakers when delving into really personal topics;how she put together such a tremendous cast and crew and advice for casting;what describes an Australian filmmaker;what's next for her.Renée's Indie Film Highlights: Warwick Thornton; OF AN AGE (2022) dir. by Goran StolevskiMemorable Quotes:"SXSW has always had a tender spot in my heart.""I'm definitely not making films with those festivals in mind.""I really wanted to explore a young toxic relationship that I feel like we don't really see much of on screen.""I'm hoping to people seeing this, if they connect to it in some way, if they've experienced this, like seeing it on screen, like it feels like a more of a validating experience."Links:Follow Renée On InstagramWatch TANGLES AND KNOTS (2018)

Watch This Episode On YouTubePHENOMENA (2026) is a type of film that I've never seen before -- an exploration of nature through a visual medium. It's not surprising that it, too, comes from a filmmaker of a type I've never talked with-- an Australian who started doing art exhibitions and immersive experience shows before his debut feature.So it's not surprising it's getting the rave reviews it's getting from places like Variety, and it is a testament to the vision that Josef brings to filmmaking. So get in early on this film and this filmmaker -- the sky is the limit for the Aussie, and who knows, it might be a part of nature he explores in his next project.In this episode, Josef and I discuss:the wildly complimentary Variety review, describing the film as "an iridescent ode to ordinary wonders";how he got started in filmmaking and how artist exhibitions transferred to filmmaking;how much his feature debut needs to be seen in a theater and the future of immersive exhibitions;what he wants people to feel watching PHENOMENA;why he worked with Sandbox Films and some of the logistical challenges inherent to making this film;his feelings narrating his film and a hilarious story about being on camera for a childrens' show;being an Australian filmmaker and his feelings on the level of travel necessarily associated with international festivals;where you can see his latest film, whether we'll get a narrative work, and what's next for him.Josef's Indie Film Highlight: SLACKER (1990) dir. by Richard LinklaterMemorable Quotes:"I pointed the camera at the sound waves and recorded it for the first time, and that really was like the seed for the feature film was that moment right there.""Image quality for me is everything. And when I put those goggles on, I'm never blown away.""I hope I was careful enough to allow room for the audience to find their own meaning and to have their own experience.""it's been about 10 years since those, that first short film, so that was in 2016. Yeah...I did other things in between, obviously. I've got a life to live and bills to pay.""I think it's super exciting to be asked overseas to go and take part in the broader community and to share the film with the larger audiences and take things international.""I think it's super exciting to be asked overseas to go and. Take part in the broader community and to share the film with the larger audiences and take things international."Links:Follow Josef On InstagramJosef's Website

During this episode, you'll hear a part that's normally edited out -- a phone ringing. But given that's one of my guests' school calling, I decided to leave it in. Because that's the life of a parent, right? It doesn't stop for a podcast recording, a film premiere, whatever you have going on in life.And the point of this episode, with Cinecamp founders Jessica Kivnik and Alexa Coblentz, is that's okay. We'll make it work. I love the way they put this description, so I'll use it here -- Cinecamp is a pop-up daycare center during the Los Angeles Festival of Movies April 10-12th. They have an open house on the 10th that I hope you'll check out.And if you don't have kids, I hope you stick around for this conversation as well. This isn't about excluding anyone; just the opposite. Cinecamp is about everyone feeling a part of the story.In this episode, we talk about:why Cinecamp matters in the film sector, even if you don't have kids, and how Jessica and Alexa got started;the genesis of Cinecamp and how it got started;why 4m to 12 years old? why start at the Los Angeles Festival of Movies? the smart decisions that went into Cinecamp's first film festival;why starting at film festivals and "being at that hub" is so important;whether the rise of female filmmakers has led to programs like Cinecamp;what's next for the program?Alexa's Indie Film Highlight: HARVEST (2024) dir. by Athina Rachel TsangariMemorable Quotes:"I have just always been interested in the way that humans relate to each other, through these kinds of stories or so many possibilities.""Inclusion matters. Equity matters. Choosing to be a parent in this world is political."On starting Cinecamp: "The more we would talk about it, [we saw] how much possibility there was there. As collaborators and like partners in it, we were waiting for a chance to do that again, but also because we both really need this. So it spoke to us really personally.""We are not just providing accessible low cost care. We're providing excellent care at a low rate." "There's a lot of conversations in the parenting circle about how being a modern mom is like a full-time job.""Everybody that's interacting with the kids is gonna be vetted and background checked and safe.""Across the board, women have lost ground in the past year in terms of equity.""It's basically building like a pop-up daycare center for children of all different ages."Links:Cinecamp's WebsiteFollow Cinecamp On Instagram

A short film has never met its moment like THE SEEING EYE DOG WHO SAW TOO MUCH (2026), which premiered at South by Southwest (SXSW) film festival this month. Of course it won the audience award -- how could it not? The film, as filmmaker Eric Jackowitz explains, is a homage to Italian giallo films, a mix of mystery horror and thriller films that peaked in the 1970s.Eric's career, as a filmmaker and musician based in Los Angeles, led him to this moment. He plays drums, attended the Berklee College of Music, and I'll say it: he's a brilliant director.The audience at SXSW agrees. And I think you will, too, after hearing our discussion.In this episode, Eric and I discuss:the first time reaction and sensory overload of seeing his award-winning film;why the film was so perfect for SXSW's Midnight Madness competition;what is giallo films and why he was drawn to making one of his own;how he got started in filmmaking and if he has any preferences in terms of writing, directing, and scoring films;what indie filmmakers don't understand about comedy and music in their films;his thoughts on the podcast space for filmmakers;hidden genres of indie films;what's next for him and his advice for people who didn't make SXSW with their films (with a crazy Judd Apatow story!);Eric's Indie Film Highlights: GRIND (2026) dir. by Brea Grant; Chelsea Stardust; Ed Dougherty; I LOVE BOOSTERS (2026) dir. by Boots RileyMemorable Quotes:"It's very mixed, but it ranges on a scale, right? There's people that really get it, who understand giallo films, who are horror fans, who are comedy fans. And then on the other end of it, there are people who are like, wow, I really like that. I don't really know what you were referencing."On giallo films: "And they're so bad. It's good. So good, it's good and so great, it's good.""And I feel like in a short block you have to, and with the goal of making a feature, you have to make as big of a announcement as possible.""Music is an afterthought.""I'm very happy to announce that I actually just quit my job podcasting."Links:Follow Eric On InstagramFollow THE SEEING EYE DOG WHO SAW TOO MUCH On Instagram

Watch This Episode On YouTubeEvery Sunday, I'll post a quick video -- and podcast -- about an indie film from at least a year ago. Today's film: CAPTAIN FANTASTIC (2016)Director: Matt RossScreenplay: Matt RossStars: Viggo Mortensen; Samantha Isler; George MacKaySYNOPSISBen Cash (Viggo Mortensen), his wife Leslie and their six children live deep in the wilderness of Washington state. Isolated from society, Ben and Leslie devote their existence to raising their kids -- educating them to think critically, training them to be physically fit and athletic, guiding them in the wild without technology and demonstrating the beauty of co-existing with nature. When Leslie dies suddenly, Ben must take his sheltered offspring into the outside world for the first time.Subscribe to our YouTube channelFollow us on LetterboxdFollow us on InstagramFollow us on XFollow us on FacebookFollow us on TikTokFollow us on LinkedIn

She'll tell you acting is her calling, but then you listen to Victoria Blade sing and watch her direct -- her most recent film, VICKY WAKES UP (2026) won the episodes grand jury prize at the 2026 Slamdance Film Festival -- and I'm with you in thinking maybe three things are her calling.Filmmaker Victoria Blade is here to talk about her path to winning filmmaking prizes, and it starts with thinking she's going to be a dramatic actor and realizing she's can play comedy just as well. and then just rolling with the opportunities given to her. I get it: acting is her first love.But this blend of comedy and drama about things we don't see very often, means I'm dying to see Victoria in the director's chair again as soon as possible.In this episode, Victoria and I talk about:why VICKY WAKES UP won at Slamdance;how she got started in filmmaking;finding her home in comedies;why more classically trained actors don't make the leap to directing?whether it was hard for people to see her as a director, given her success in acting and singing;what she brought to the casting process for VICKY WAKES UP and if her reputation helped attract great actors;if she has a preference of writing, acting, or directing;whether there's other episodes ready to go for VICKY WAKES UP;how she incorporated surrealism into the show;do indie films do enough with music?cubicles -- why both her films showcase office environments;directing herself in her films and what she'd tell directors who want to act;how she feels about influencers getting into acting;what's next for her and how she chooses who to work with.Victoria's Indie Film Highlights: DANNY IS MY BOYFRIEND (2025) dir. by Lucy Sandler and Mechi Lakatos; SCRATCH (2023) dir. by Michael TrainottiMemorable Quotes:"What stood out to them was the deeper themes of sexism in the workplace; of the need to pursue our deeper dreams; and the positive vibe that music can bring when even when we're in really dark times.""So I came out of acting school just thinking I was gonna be a dramatic actor because that's what I taught, but what I learned really quickly is that it was easy for me to bring levity into the room.""Even when you do have a successful acting career, you have a lot of free time.""I learned that really as a director, you're sitting in such a privileged seat because there's so much talent and only one person gets the job.""Whenever you see filmmakers who are going to festivals and they're hiring a casting director and they're really putting their all behind a project, that's attractive to me.""It is if Pam Beasley from "The Office" slowly became a pop star.""I don't see a lot of films that talk about music in a very practical way, like in a relatable way.""It's not like the drudgery and the commitment and the discomfort that it actually takes to change your life.""The acting becomes instinctual.""Yeah, I think in the current landscape of the industry with things just constantly changing and evolving and no one really, honestly, knowing what the hell is going on, it's very silly to try to gatekeep anything because this is this is like a free for all. If you wanna go, do it."Links:Follow Victoria On InstagramVictoria's Website

Watch This Episode On YouTubeRE-RELEASE: I'm re-releasing this episode, in part to congratulate the team behind MR. NOBODY AGAINST PUTIN (2025), who won the Best Documentary Feature at the Oscars, and also give further background to director David Borenstein's comments at the event. After you listen to this episode and hear about his background, his words come from experience. Congratulations, team. So well deserved.From December, 2025:Surely he didn't know it then, but his work in media in China made my guest, filmmaker David Borenstein, the perfect person to direct MR NOBODY AGAINST PUTIN (2025). It's a fantastic film following a Russian teacher "secretly documenting his school becoming a war recruitment center during the Ukraine invasion."What David and especially his co-director, Pasha Talankin did was make a film at great personal risk because it's so cutting towards the Russian authoritarian regime. And astonishingly, as David shares in the podcast, he wants to do more of these stories in repressed societies.Thank God there are people like David and Pasha. Denmark's nominee for best international film at the 2026 Oscars is an absolute gem.In this episode, David and I discuss:the simplicity of the documentary and whether the overwhelmingly positive reaction surprised him;how he got started in filmmaking and his familiarity with heavily propagandistic societies;the difference between journalism and documentary filmmaking (he has an incredible answer here);the debates with his co-director about the concept of propaganda;how cool it would be to see a documentary or podcast on the making of MR NOBODY;logistically, how did the film happen?;how his co-director became knowledgeable behind the camera;advice for anybody interested in doing a project like this, especially when you aren't in the same place as your co-director!;how he edited the project and who got the line credit for it;how we can better support filmmakers in places like China and Russia;when the film will be available for streaming and the challenges of finding distribution in the United States;the clash between US and Europe distributors for documentary films;what's next for him.David's Indie Filmmaker Highlight: Nathan FielderMemorable Quotes:"The co-director, he actually responded to a casting call in the beginning. So in the beginning, we were filming him as a character.""The very first time that I was involved with cameras of any sort was actually as a Chinese speaking host on Chinese TV.""if you are a quite fluent foreign speaker of Chinese living in China, they'll find you after a while. You are a curiosity to Chinese audiences.""[John Grierson] defined documentary in a very special way. He didn't define it as journalism per se. He actually called it the propaganda of democracy.""There were so many points where I thought about quitting or walking away 'cause it was so hard. But don't give up." "The way I work with editors is I make a rough cut myself and then I deliver it to editors to work for a little bit of time to challenge me." "I think it's really important as director to be generous.""[The film] is resonating with people in Russia and not necessarily people who are already part of the Russian opposition.""I'm still really interested in getting into the big kind of countries that we don't understand enough, Russia and China."Links:Follow David On InstagramFollow MR NOBODY AGAINST PUTIN

Watch This Episode On YouTubeEvery Sunday, I'll post a quick video -- and podcast -- about an indie film from at least a year ago. Today's film: HARD EIGHT (1996)Director: Paul Thomas AndersonScreenplay: Paul Thomas AndersonStars: Philip Baker Hall; John C. Reilly; Samuel L. Jackson; Gwyneth PaltrowSYNOPSISVeteran gambler Sydney befriends a young man named John, transforming into a Las Vegas casino champion. John falls for a prostitute, and the couple soon finds themselves in need of Sydney's help.Subscribe to our YouTube channelFollow us on LetterboxdFollow us on InstagramFollow us on XFollow us on FacebookFollow us on TikTokFollow us on LinkedInSupport this podcast at — https://redcircle.com/first-time-go/exclusive-content

If there's something that Mark Elijah Rosenberg hasn't done in film, I don't know what it is.Started Rooftop Films, which presents art and films around New York. Made a studio feature. Made deeply personal short films like ____ IN PARIS (2026), which he premiered at Slamdance this year. Made interactive art. Taught film. With a background like that, I knew the insight he would bring is incredible, and he doesn't disappoint here.The best part is you can tell Mark has thought about all these bigger issues in filmmaking, too, and I'm so thrilled he's here to share his perspective.Mark and I discuss:why Slamdance for the premiere of ___ IN PARIS (2026);how he got started in filmmaking and if he knew when he started Rooftop Films if he wanted to work on his own projects;what Rooftop Films has taught him about the theatrical experience;the process of creating his first studio feature, APPROACHING THE UNKNOWN (2016), and how it wound up so different than his vision;how the experience of making the film might be different today;what advice he gives his students and labs today from all of his studio and independent filmmaking experiences;why big, heavy philosophical topics are important to him;what should people expect to watch ___ IN PARIS and why does he make so many personal stories;how the next generation of filmmakers will approach these deeper questions;what his next projects are.Mark's Indie Film Highlights: AMERICAN GIGOLO (1980) dir. by Paul Schrader; Ja'Tovia GaryMemorable Quotes:"The people at Slamdance care about their filmmakers and the filmmaker experience and supporting them as much as any festival I've ever seen in the world." "We don't screen in theaters, we screen in neighborhoods.""With some slight variation for special screenings and regions, most movie tickets all across America cost the exact same.""There should be a move towards more truly nonprofit filmmaking where films are supported in the arts the same way other art forms are.""And the NASA administrator said it doesn't help national defense, except in that it makes America a country worth defending."Making his first feature: "It was a wonderful and difficult and amazing experience.""This gets back to also the sort of capitalism of filmmaking. If I hadn't made those compromises, the people with the money would've pulled out.""Don't submit to most festivals unless you think you're gonna be able to go.""For my students, for any artist, for myself, you have to find that thing that you care about, that you wanna say in the world, but then you also have to find the structure to put it in.""So the next one is actually about the the physical force of gravity but gravity, both as a force of physics in the world, in the universe, but also as a sort of metaphor for our lives."Links:Follow Mark On InstagramSupport this podcast at — https://redcircle.com/first-time-go/exclusive-content

My conversation with filmmaker Sylvia Ray was eye-opening for me in so many ways. Let's start from the top: SEAWEED SNACKS (2026) is phenomenal filmmaking that is slightly dark, extremely funny, and captures a social dynamic that we too often don't see on screen: dads at a birthday party. Sylvia directed it, and the film was a product of Film Independent's Project Involve, where the SEAWEED SNACKS team was the only one with three out of 31 people with kids.I'm seeing this from the vantage of someone who is chronically online, but the kids/no kids debate is frustrating to me. Both sides often talk about how you're living life wrong if you're on one side of it or the other. I don't feel we should look at it in such a binary way, and the show is a friendly place to talk about ways in which independent filmmaking can make living your best life easier.In this case, as Sylvia shares, it was having kids that turned her into the dynamic filmmaker she is. SEAWEED SNACKS and her films don't exist without them and I feel so very lucky they do.Sylvia and I talk about:her incredible output of five films in close to five years and whether she still has that same feeling of excitement when they come out;directing material that you didn't write;how she got started in filmmaking and how having kids focused her vision on what she wanted to do -- directing;finding your community, whether it's at film school or elsewhere;how she won over friends and colleagues at top film schools;what is the Film Independent Project Involve experience like?;what makes a great lab and what doesn't work regarding labs and fellowship;how she wants people to feel watching SEAWEED SNACKS and whether it's harder to find laughs than in a drama;surrealism in the film and why it makes films so much better when used appropriately;what makes a great short film and the distribution system for shorts;whether she sees the growth from her previous films;what the climate in Los Angeles is right now for shooting films;childcare on set and the state of parenting and filmmaking;what's next for her.Sylvia's Indie Film Highlight: BETTER LIFE (2025) dir. by Jessica Liu; THE INHERITANCE dir. by Destinee StewartMemorable Quotes:"The excitement is definitely still there. It just feels like a shared responsibility or a shared vulnerability.""it never occurred to me that's something that I would pursue is arts or performance arts until I had my first kid actually.""There was something really empowering about having him and my second child...it rewired my brain in a lot of different ways and made me think of how capable I am.""The biggest life saving part of being in this career is finding my community." "What can I do in order to get to set and work and do what I love? I look at it a little bit like a sport."On Project Involve: "I knew their intention and they made this very clear in the beginning was that they wanted us to create community and build collaborations that would go on into the future.""And particularly parents who are artists, I hope that it feels like that they're being seen in some way.""When I was pitching on it, I lost my home in the fires and I think I was just really in a what is life? What is money? And then just going through all of these life can just feel surreal at times.""Consuming a lot of shorts allowed me to feel confident that this was gonna work and play well on festivals."Links:Follow Sylvia On InstagramFollow SEAWEED SNACKS On InstagramSupport this podcast at — https://redcircle.com/first-time-go/exclusive-content

Watch This Episode On YouTubeEvery Sunday, I'll post a quick video -- and podcast -- about an indie film from at least a year ago. Today's film: THE CELEBRATION (1998)Director: Thomas VinterbergScreenplay: Thomas Vinterberg; Mogens RukovStars: Henning Moritzen; Ulrich Thomsen; Thomas Bo LarenSYNOPSISA dark secret mars a Dane's (Henning Moritzen) 60th birthday celebration, attended by his family (Ulrich Thomsen, Thomas Bo Larsen) and friends.Subscribe to our YouTube channelFollow us on LetterboxdFollow us on InstagramFollow us on XFollow us on FacebookFollow us on TikTokFollow us on LinkedInSupport this podcast at — https://redcircle.com/first-time-go/exclusive-content

So when I invite someone on the podcast, it's usually about promoting a particular project at a festival. There certainly is that here with director Andrew Kightlinger regarding his genre-breaking film OKAY (2026), which had its world premiere at Slamdance 2026, a festival that he also served on the jury. But we don't hit OKAY discussion until minute 27!That shouldn't surprise you, though, if you look at Andrew's biography. His origin story is incredible, yes, but what fascinated me the most is how deeply knowledgeable he is about the art of filmmaking. He was brought on to direct OKAY to highlight Fujifilm's GFX ETERNA 55 and Andrew did it in a way that made me rethink how he deal with human emotions on screen. There's a documentary about the project that is well worth watching.I wish every camera maker funded a gorgeous film to highlight their products. And I wish every filmmaker was as thoughtful as Andrew.In this episode, Andrew and I discuss:is Slamdance too indie? a hearty defense of the festival;his unique background into filmmaking, South Dakota by way of Madagascar;how pirated blockbusters are what's easily accessible around the world, including a hilarious story about belatedly watching TITANIC (1997);starting with shorts or jumping into features;the wild story about how he became a director and what he turned down to stay independent and true to his vision;how he makes successful pitches for investors, including a lot of dentists (who knew?!);how to find great collaborators;the common threads for films he judged at Slamdance and whether chapter headings say something about episodic content;what is OKAY about and how Andrew describes it;how to depict grief on screen and why OKAY is so original in its handling of the subject;giving feedback in a creative and useful way that finds a way to make art honestly;the connection between Fujifilm and Andrew;whether the ubiquity of great cameras means we're moving back to more story-led films;why some big budget films "look like crap";how indie films are screened and if Fujifilm thought about how people would watch the film;what's next for him.Andrew's Indie Film Highlight: WALKABOUT (1971) dir. by Nicholas Roeg; DIRTY WORK (1998) dir. by Bob SagetMemorable Quotes:"If anybody's thinking, ugh that's too hoity tody or that's not good enough, or whatever, just stop and just submit the movie...the movies are very varied. It's a very eclectic selection of films, and the tastes are all over the place, and that's what's really fun about the festival. It's it's a cornucopia of stuff and everybody should submit.""why is this kid obsessed with movies? Like, why? We want a scientist.""So we didn't see the last hour of Titanic until a year later when we went to Minnesota." "Because I went out to my dentist and said, hey, can I get 10 grand? He [said], sure!""A valuable lesson to learn as a filmmaker: choose your collaborators wisely.""Look at my name in the credits and you want to feel good about helping a young artist. And if you sell that to them, they'll invest. If you sell them numbers, they're not gonna do it.""Shorts are good as reps in the gym.""The common thread between all the movies that I watched on the feature jury, the movies in competition, I would say that 70% of them were in black and white, which is a trend right now, which kinda shocked me. And almost 50% of them had chapter headings throughout the film.""The short film is a movie about grief at its core, and it's about a woman who is grieving the death of her husband and she's trying to find healing by searching for him in the cosmos. And that's the general idea of the film, and people just need to watch it to figure out what that means.""OKAY is the most honest move I've ever made because I was able to pour myself into it.""Younger filmmakers send me like their ideas or treatments like, Hey, could you look at this? And I can tell that it's been written with that [AI] format.""[OKAY] was the weirdest concept by far. But they said, oh, that's our favorite one." "I wanted to make a movie that had very formalistic editing and very dirty 70 style camera work as well. And they didn't shy away from that."Links:Follow Andrew On InstagramWatch The Documentary On OKAYSupport this podcast at — https://redcircle.com/first-time-go/exclusive-content

Watch This Episode On YouTubeKate Cobb is one of the most dynamic filmmakers working right now, and it's because she's willing to be an actress, an editor, a writer, a director, as well as empower everyone else on set to make the film happen. Her feature debut, OKIE (2024), was a revelation for its authenticity and heart, so it's no surprise that the filmmaker behind it is, too.Her new film, BRB (2026), premiered at Slamdance 2026 to fantastic reviews. It's a "love letter to early Internet girlhood", and I'm so thrilled to see Kate's ambition expand to such a well-written, personal film.As she talks about in pod, she already has a third film in the can -- this is the story of a person fully taking the reins of her career and making great art. I'm absolutely here for it.Kate and I talk about:what is BRB, her stunning second film that premiered at Slamdance 2026;her takeaways after her first film, OKIE (2024);the journey from acting at DePaul University to directing;the wisdom of making a proof of concept short before making OKIE;how we should talk about -- and rate -- first features without being condescending;why she directs films that other people wrote;casting people with large social media followers, and finding someone like that who can truly act in Zoe Colletti;distribution for the film and what she learned from OKIE;how being an actor informs how she runs a set;what it's like working with a business partner who is also a life partner;what's next for this astonishingly creative filmmaker and is there a job on set she *hasn't* done?!Kate's Indie Film Highlights: GUACAMOLE YESTERDAYS (2024) dir. by Jordan Noel; EDGE OF EVERYTHING (2023) dir. by Pablo Feldman and Sophia SabellaMemorable Quotes:"I think I learned that the festival part is such a joyful experience and to treat it as such.""When I turned towards directing and when I did...it was like putting on the right size shoes for the first time in my life. All of a sudden I was like, oh, wow, I'm using my artist heart, but I'm also using my like corporate shill brain.""If you learn every single job, no one can stop you from making a movie.""Your first feature is precious. It's precious because you, yes, you're not the best filmmaker in the world and no, you're gonna mess up and you don't have the luxury of a huge budget or a bunch of time or even a bunch of experience, but that's what makes it amazing, because you're finding that person while you do it.""I want my audience to be able to see themselves within it. And in order to do that, it has to start with me seeing myself within it.""I was an actor for so many years and I've been on so many different types of sets, and let me tell you, most of them are run by men. I had a lot of thoughts on that as far as basically it gave me a map. Not all men, obviously there are incredible male directors and filmmakers.""The absolute enemy of creativity is when people cannot feel vulnerable.""Make a seat for fear."Links:Follow Kate On InstagramSupport this podcast at — https://redcircle.com/first-time-go/exclusive-content

Watch This Episode On YouTubeEvery Sunday, I'll post a quick video -- and podcast -- about an indie film from at least a year ago. Today's film: MISTRESS DISPELLER (2024)Director: Elizabeth LoWriters: Charlotte Munch Bengtsen; Elizabeth LoStars: Fei Fei; Wang ZhenxiSYNOPSISA Chinese woman hires someone to secretly end her husband's extramarital relationship in an attempt to save her marriage.Subscribe to our YouTube channelFollow us on LetterboxdFollow us on InstagramFollow us on XFollow us on FacebookFollow us on TikTokFollow us on LinkedInSupport this podcast at — https://redcircle.com/first-time-go/exclusive-content

Watch This Episode On YouTubeI can't think of a better way to start special Slamdance coverage than with Sammy LeMieur, talking about his film, THE LEMIEURS (2026), which debuted at Slamdance this week.The logline: Fearing regret and desperate to keep hold of their history, the five sons of a small-town Minnesota matriarch must reconcile her aging, while her three grandsons running a funeral home face death head-on.I spend a fair amount of time in Minnesota so I can say: this is exactly what it's like. That was one of his goals at film school -- to show people the real Minnesota -- and for him to be able to pull it off, it's an incredible story.Over the next few weeks, the pod will release episodes more frequently than Tuesdays and Fridays (in theory, anyway) with a host of interesting Slamdance films.Slamdance is one of my favorite festivals because it attracts unique and groundbreaking films that are still absolutely independent. As long as I have a podcast, there will be Slamdance episodes, and of course, I'd start with Minnesota and filmmaker Sammy LeMieur.In this episode, Sammy and I talk about:why Minnesota is rarely on screen and why his film is such a breath of fresh air;how he got started in filmmaking in Minnesota;why NYU and if he recommends going to film school;the importance of creating short films in his filmmaking journey;how THE LEMIEURS got its start;what he wants people to feel when they watch this deeply personal film;the ending everyone sees coming -- but you don't want to see;his families' reaction to the film;his path into making documentaries and what his future in the genre holds;the distribution for his film and generally for docs;what's next for him, which is another doc that I can't wait to see.Memorable Quotes:"We were the first NYU production to shoot in Minnesota.""You pay for film school to meet your collaborators and...for the opportunity to use the equipment and make a movie.""I think there's something about short films that really teach you structure.""What I want people to feel is just be, feel like a LeMieur for 70 minutes, like you're a part of this family from when you sit down and when you leave the theater.""I knew from the start that it was always gonna end like that, and I figured the audience would know that too. And that was the challenge was like, how do you create a progression and create a rising conflict throughout this story that you know where it's gonna go?""I always thought I was gonna be a fiction guy, like with more a narrative approach. But I think like I said they're the same to me."Links:Follow THE LEMIEURS On InstagramSupport this podcast at — https://redcircle.com/first-time-go/exclusive-content

Treat your art like a startup is fantastic advice from filmmaker Charlotte Siller. She has a lot of great wisdom from her ten year journey into making a documentary. A CURIOUS IDOL is a film about the "life, and truth, of Louise Brooks", a film star but also an intellectual powerhouse.Charlotte and I discuss so many topics we don't normally talk about on the podcast -- an unvarnished take on not showing up for class in college and the blockchain. It is thrilling to share an episode with such a unique filmmaker, Charlotte Siller.In this episode, Charlotte and I talk about:her ten year quest to bring her film, A CURIOUS IDOL: DOCUMENTARY OF A LOST GIRL;her unvarnished and amazing take on school, acting, and how she wound up as a filmmaker;why she didn't connect with acting and how cinema studies set her up to make a documentary;what the film looks like now and when it can expected to be released;why she's putting the film out now, despite the enormous challenges;the opportunities of the blockchain for indie filmmakers and her award from Decentralized Pictures;how marketing helped her filmmaking;what's next for her.Charlotte's Indie Filmmaker Highlight: Wong Kar-Wai; George Cukor; THE MOMENT (2026) dir. by Aidan Zamiri based on a original idea by Charli XCXMemorable Quotes:"The film itself is about Louise Brooks, who was a silent film star, but even more was a writer and like this brilliant self-taught woman.""The hardest thing about being truthful about the world is having to be truthful about yourself.""I think the professors there taught me how to look at film storytelling analytically and how to have a holistic viewpoint on it.""The most important thing to me in this whole process was that I did not put my own bias on it.""This has been a pretty sporadic decade of doing this. Hopefully, this is helpful to young filmmakers who are starting to embark in these journeys. I had to live a life in between all of this.""Filmmaking requires, oh, so much marketing, like a ton of marketing. And I didn't realize that. I had that experience until I started doing marketing and then I was like, oh, wait a minute."Links:Follow A CURIOUS IDOL On InstagramA CURIOUS IDOL WebsiteSupport this podcast at — https://redcircle.com/first-time-go/exclusive-content

Watch This Episode On YouTubeEvery Sunday, I'll post a quick video -- and podcast -- about an indie film from at least a year ago. Today's film: JACK GOES BOATING (2010)Director: Philip Seymour HoffmanStory by: Robert GlaudiniCast: Philip Seymour Hoffman; Amy Ryan; John Ortiz; Daphne Rubin-VegaSYNOPSISSingle Jack (Philip Seymour Hoffman) drives a limo for a living and has a best friend, Clyde (John Ortiz), a married co-worker. Clyde and his wife decide to set up Jack with another friend, Connie (Amy Ryan). Jack and Connie hit it off, and a tentative romance blossoms, inspiring Jack to take cooking lessons, learn to swim, and apply for his dream job. However, as that relationship grows stronger, Clyde and his wife find their marriage crumbling.Subscribe to our YouTube channelFollow us on LetterboxdFollow us on InstagramFollow us on XFollow us on FacebookFollow us on TikTokFollow us on LinkedInSupport this podcast at — https://redcircle.com/first-time-go/exclusive-content

Part of the reason my guest, French filmmaker Boris Lojkine, has been so amazingly successful with his films, most recently SOULEYMANE'S STORY (2024), is his humility and understanding of how to portray people not like himself.Instead of making a "Parisian film about a middle age couple in the crisis of existential bullshit" -- his words -- he has made feature films that depict the life of an immigrant. Paris was the setting for his latest film, but he wanted it to come across as a foreign ZIP code.This was all borne out of his roots as a documentarian, and I am simply in awe of his story. And the fact that he eschews all social media. You're living the dream, Boris.In this episode, Boris and I discuss:why he's gone beyond most French filmmakers to show France from the outside;how he got his start in filmmaking as a philosophy teaching, making two documentaries in Vietnam;how narrative films can lose the reality of documentaries;the reason immigration factors into so many of his stories;if he's the right person to tell an immigrants' story;telling the story of female protagonists in his films;how Sean Baker helped him get distribution;if he's disappointed that his previous films aren't available for streaming;what led him to create SOULEYMANE'S STORY and the risks he took in making the film;the documentary feeling in his films and how he handles actors;does he see it as a compliment that other people are making films with similar stories?what's next for him and how filmmakers should be more adventurous.Boris' Indie Film Highlights: I ONLY REST IN THE STORM (2025) dir. by Pedro Pinho; A POET (2025) dir. by Simón Mesa SotoMemorable Quotes:"I started to make documentary films because my ex-wife was making documentary films and I saw how she was doing and I thought, okay, I will try to do my my own films too.""I wanted to make films abroad. I was not interested in making a Parisian film about a middle age couple in the crisis of existential bullshit.""There is the question of legitimacy and sometimes people, usually young people, younger people than younger than I am from, from another generation, they ask me, what's your legitimacy? And now I answer my legitimacy is zero. But because my legitimacy is zero, I have to work more.""I have to listen, and I think the most important thing in my work is not to direct, but to listen.""I was talking with a Congolese director. And my neighbor in the restaurant, he told me, oh, you are Boris. I watched your film yesterday and it's an incredible film. Let me talk to my friend Sean Baker, and he talked to his friend Sean Baker, who made a tweet. And the week after, we had a distributor, you know, sometimes you just have to eat Vietnamese in a restaurant."Support this podcast at — https://redcircle.com/first-time-go/exclusive-content

Watch This Episode On YouTubeEvery Sunday, I'll post a quick video -- and podcast -- about an indie film from at least a year ago. Today's film: CITY ISLAND (2009)Director: Raymond De FelittaWriter: Raymond De FelittaCast: Andy Garcia; Steven Strait; Julianna MarguliesSYNOPSISPrison guard Vince Rizzo (Andy Garcia) wants to quit his job to become an actor, but he also needs to make up for lost time with Tony (Steven Strait), a long-lost son who's an inmate where Vince works. When Tony is freed, Vince suggests the ex-convict move in with his wife, Joyce (Julianna Margulies), and their children. But because Vince neglects to tell his family that Tony is not just a stranger, but the son he fathered before he met Joyce, this leads to a series of comic misunderstandings.Subscribe to our YouTube channelFollow us on LetterboxdFollow us on InstagramFollow us on XFollow us on FacebookFollow us on TikTokFollow us on LinkedInSupport this podcast at — https://redcircle.com/first-time-go/exclusive-content

The king of the pushback -- it's a great title to have.In today's podcast, I talk with filmmaker Adam Neuhaus, who helped put together possibly the best brand in documentary, 30 for 30, and then bet on himself, founding Neuhaus Ideas and then The Nonfiction Hotlist. The latter project has continued to grow. March 6th, 2026 is the deadline for the Yahoo x The Nonfiction Hotlist partnership, which helps give a home to short docs.He is also involved in numerous nonprofits that help people get started in filmmaking, a sorely-needed boost when people need it to the most. That's the through-line of his career -- helping others. And much to his credit, pushing back on podcast hosts. That's my favorite type of guest.In this episode, Adam and I discuss:why extending a ladder -- or an elevator -- to people starting their careers is important to him;how he practically makes it work running his own company as well as companies like Nonfiction Hotlist;his start in filmmaking and journey from William Morris to creating puzzles;30 for 30's brand and what makes a great sports documentary;the issue of access in documentaries, especially sports;founding an "ideas" company versus running a production company;the amazing story of founding The Nonfiction Hotlist from a post on LinkedIn;why people were more amenable to accepting feedback as part of the application process of The Nonfiction Hotlist;sports films as part of the Hotlist and the importance of expanding your aperture about what a sports doc is;how film festivals actually work; Adam pushes back on the notion that a lot of it is determined by friends and pitching the programmers;why the Yahoo x The Nonfiction Hotlist partnership is such an important platform for short docs;what's next for him and The Nonfiction Hotlist.Adam's Indie Film Highlight: The 2025 Nonfiction Hotlist Memorable Quotes:"If you're feeling bad for yourself, give to somebody else, be of service to somebody else.""I decided to leave a...corporate job that I worked at ESPN for many years to give this a shot.""You need to find something that works between projects.""How do we find more durable systems for ourselves so that we stay accountable to ourselves, to the work we're doing? The only thing that I've ever seen really work in that way is consistency.""We're building a puzzle community. We're trying to build a large community, and then we don't need corporate dollars. We then could be able to sustain ourselves as an independent company.""I'm certainly entrepreneurial-minded. But it's certainly not easy.""A great sports documentary goes beyond who won and lost the game.""The projects that I'm less interested in are just the pure follow docs.""I call it an ideas company because primarily I am not necessarily looking to run production services for my company.""The challenge of a development company versus a production company is that development only gets paid when the project really comes to fruition.""When did we all start believing that everything has to take forever in this business? It's actually not true.""Fish your barrel before you start looking for generalized storytelling fans."Links:Follow The Nonfiction Hotlist On InstagramNeuhaus Ideas Yahoo x The Nonfiction HotlistThe Nonfiction HotlistSupport this podcast at — https://redcircle.com/first-time-go/exclusive-content

Director, teacher, all around rebel Itonje Søimer Guttormsen premiered her latest film, the buddy comedy-drama BUTTERFLY (2026) at the International Film Festival Rotterdam, and came here to talk about the film, her career, and all the bad advice she got at film school for the podcast.When you watch BUTTERFLY, you get the sense of an assured filmmaker at work: a close to two hour runtime that goes quickly and a work of art that doesn't feel like it was made by a committee. It was made by a truly unique voice.In this episode, Itonje and I talk about:the world premiere of BUTTERFLY at the International Film Festival Rotterdam in February, 2026;what she wants them to feel when watching the film;how she decided to get into filmmaking;the best way to encourage rebelliousness in film students;why we can't see her directorial debut, GRITT (2021);her focus on depicting artists in her films;the strong female protagonists in BUTTERFLY and why we don't see more of that on-screen;the balance of following the script versus giving actors room to maneuver;finding female role models as a director and whether things are getting better for female stories;how she didn't make compromises in her films;incorporating spirituality into her films without turning it into a punchline;what's next for her and what she has learned about the process.Itonje's Indie Filmmaker Highlights: Guy Maddin; Denis Côté; MAGIC FARM (2025) dir. by Amalia Ulman; Camilla FigenschouMemorable Quotes:"The audience [at International Film Festival Rotterdam] was, they're so attentive, they have a lot of questions and everything is arranged beautifully. So we had a blast.""There's no hierarchy. Everyone goes to the same party. You speak with short filmmakers, you speak with distributors or festival assistants.""I felt so many of the things I learned was wrong, kill your darlings. Less is more. All of this bullshit that I don't believe in.""It was my first feature feature film idea. It came in 2008. So I've been working with this for 18 years.""I think the sibling relationship...it must be the most defining relationship we can have." "I always felt that there's my way or no way for me."Links:Hollywood Reporter Interview With ItonjeFollow Mer Film On InstagramSupport this podcast at — https://redcircle.com/first-time-go/exclusive-content

Watch This Episode On YouTubeEvery Sunday, I'll post a quick video -- and podcast -- about an indie film from at least a year ago. Today's film: OKIE (2024)Director: Kate CobbWriters: Boris Lojkine; Delphine AgutCast: Kevin Bigley; Kate Cobb; Scott Michael Foster; Dan JohnsonSYNOPSISLouie, a lauded writer, returns to his dilapidated hometown after his father's death. Confronted with a deluge of people from his past, Louie is forced to reconcile with the stories he's stolen, twisted, or downright exploited for profit.Subscribe to our YouTube channelFollow us on LetterboxdFollow us on InstagramFollow us on XFollow us on FacebookFollow us on TikTokFollow us on LinkedInSupport this podcast at — https://redcircle.com/first-time-go/exclusive-content

I don't know if it's fair or not, but if you're going to launch a service made up of Oscar nominated films, you have to have a background in making great films yourself to make it work. My guest today, director Alejandro Vilpa, is pushing forward with both: a streaming service called Vilpa Max that is now available in the Middle East/North Africa region and the UK for award-winning short films, and also going on a festival run with THE UNDERTONE OF DAVID JENSEN (2026), a sumptuous film about the struggles of a violin soloist.He put it together with the help of the Czech and Mexican governments, not an easy task, and now goes on to launch a streaming platform!It takes guts. Let's celebrate that today with Alejandro.In this episode, Alejandro and I talk about:how he launched Vilpa Max, a new platform available in the Middle East and the UK for award-winning short films;his start in filmmaking and what led him to starting his own streaming service;why the distinction of award-winning films as part of Vilpa Max;what's the pitch for an Oscar nominated short to wind up on Vilpa Max?;his advice for nominated filmmakers right now;the need to create high-quality films of your own if you want to attract those kind of filmmakers;the story behind THE UNDERTONE OF DAVID JENSEN (2026);how he handled the music playing in the film from actors who didn't know how to play the violin;putting together a film assisted by both the Czech and Mexican governments;"short films don't matter" -- his thoughts?;what's next for him and when Vilpa Max will launch in the United States.Alejandro's Indie Filmmaker Highlight: Malachi MarlanMemorable Quotes:"It's all about the team that I got. I got all the best team that I could have with what I had.""Most of us artists, we struggle to find out what's next, right?""I found there was...these films from the Oscars and Cannes Film Festival. They won and nobody knew about them. Why?" What's the pitch for Vilpa Max to filmmakers? "We make them make money with their films""I like to say we are all David Jensen.""We're constantly scouting for new films.""I don't think there's a single film in Vilpa Max that you would say, okay, that looks amateur."Links:Vilpa MaxFollow Alejandro on InstagramSupport this podcast at — https://redcircle.com/first-time-go/exclusive-content

Director and filmmaker Miguel Angel Ferrer did something truly remarkable and breathtaking in his film, THE SHADOW OF THE SUN (2023). Not simply that it's Venezuela's entry into the Oscars or he shot the film in his home country of Venezuela, although that's fantastic in its own right. When you hear the story of how the film came to be, through the radiant cinematography or the work of a 65 year old cameraman, you get an understanding of what a passion project this was for him. You understand why he imbued every single character in this film with their own backstory and meaty roles. I felt like I could understand every person in this film because of the care he gave them, and that's rare indeed.Venezuela is in the news for things other than filmmaking, but that doesn't have to be the case. Let's appreciate the true artistry of filmmakers like Miguel.In this episode, Miguel and I discuss:the radiance of the film and how it shows people what life is like in Venezuela;how the global news stories about Venezuela turned a spotlight on the country and its filmmakers;film school in Miami and how the city should be viewed in indie film;how his 11+ shorts led into this remarkable feature film;taking jobs you might not expect as a hidden strength;how he manages two companies -- Magic Films and Multi Movie Studios;what he's looking for in a director;how somebody should feel watching THE SHADOW OF THE SUN;why he imbued so much life into each of his characters in his film and why that's so rare;his commitment to shooting the film in Venezuela and what advice he'd give others on the process;his powerful answer about inspiring future Venezuelan filmmakers;how he got the nomination for Venezuela's entry to the Oscars;what's next for him, including a remake!Miguel's Indie Film Highlights: Jeff Nichols; THE SEA INSIDE (2004) dir. by Alejandro Amenábar; J.A. BayonaMemorable Quotes:"What's been happening lately obviously puts a spotlight on Venezuela, a gigantic spotlight on Venezuela, and people start doing the research and start asking the right questions, they find a lot of truth that they didn't know about.""As a filmmaker, you have to grab...the cards that life gives you and play them as best as you can.""Everybody wants like instant gratification and everybody wants the David Fincher career, the Nolan career. Whereas Nolan never had to do a commercial or a music video.""I want them to see themselves in these characters.""Having done verticals and having done a movie for a studio very rare nowadays does a movie get made that is not by committee meaning you have to adhere to something that the studio needs to be done or that the producer, the production company, needs to get done.""This one was one that when I got the kernel of the idea, it pulled me. I couldn't stop thinking about it. It pulled me and it pulled me, and I couldn't let it go until it was done on the page.""That's what we wanted to capture in the film, the Venezuelan spirit.""The moral of the story there is, listen to your girlfriend and to your mom."Links:Follow Miguel On InstagramMiguel Ferrer's WebsiteSupport this podcast at — https://redcircle.com/first-time-go/exclusive-content

Every Sunday, I'll post a quick video -- and podcast -- about an indie film from at least a year ago. Today's film: MADELEINE COLLINS (2021)Director: Antoine BarraudWriters: Boris Lojkine; Delphine AgutCast: Abou Sangare; Alpha Oumar Sow; Nina MeurisseSYNOPSISJudith leads a double life: two lovers, two sons in France and one daughter in Switzerland. Entangled in secrets and lies, her lives begin to shatter.Subscribe to our YouTube channelFollow us on LetterboxdFollow us on InstagramFollow us on XFollow us on FacebookFollow us on TikTokFollow us on LinkedInSupport this podcast at — https://redcircle.com/first-time-go/exclusive-content

Most of the time, I'm hoping my guest will be a great one to have on the podcast, but with director + editor Sara Barger, I knew. She was an instructor as part of my documentary certificate program -- COVID killed the program -- but I got so much out of her thought process on how to make films. So when I saw her name listed prominently on the poster as the editor for her new film, DAD GENES, I knew I'd love to have her on the pod. I'm glad she agreed.As you hear in the intro, we talk about women in film and the lack of representation, as Sara served as president of Women in Film & Video, and through our conversation, I say she's forceful...because she is. But as I came up with that intro, I reflected on that: is that an attribute I'd give some guy? No. Because he'd be just being a guy. So a better way of putting it is Sara is how all people should be in film, regardless of gender: fierce advocates for their art. In this conversation, Sara and I discuss:her name being next to the director and producer on the poster;the story of DAD GENES and what the premiere was like in NYC;how she got her start in filmmaking;should directors know how to edit?;do you need to have a forceful personality to be a great editor?;looking back on her film, LITTLE BUT FIERCE (2020), and what she learned from it;finding issue areas to pursue as a documentary filmmaker;the quick 60 minute+ run time and her support for short feature docs;whether she loves the producing job -- on ads, yes; on films, no;progress on women in film;what's next for her and innovation in political advertising.Sara's Indie Film Highlights: THE SOCIAL DILEMMA (2020) dir. by Jeff Orlowski; THE GREAT HACK (2019) dir. by Karim Amer and Jehane Noujaim; THE LAUNDROMAT (2019) dir. by Steven SoderberghMemorable Quotes:"I don't think most people realize this, but when it comes to documentary filmmaker, the editor does a lot more than just piecing it together.""It was my first time seeing it with an audience. It was my first time seeing it on a screen larger than my laptop. And so I kept being like, oh my God, it looks so good. It sounds good. Okay, this is like a real movie.""I was the kid who was making all the neighborhood kids perform in backyard plays for our parents growing up.""The best people on set are the ones who know how to do everyone's jobs.""Yeah, I can edit this film, but you have to let me do my job.""When I'm in pain, when my back goes out, there's not enough weed on this planet.""The second you stop recording is when they say something amazing.""I have a ADHD, I'm like, come on man. We gotta keep this moving."Links:Sara Barger's WebsiteWatch LITTLE BUT FIERCE (2020)Support this podcast at — https://redcircle.com/first-time-go/exclusive-content

It shouldn't surprise you that somebody who is out looking for "weird stories that connect and resonate" would direct DAD GENES (2026), the film about a sperm donor meeting his biological children. Craig Downing has been around the world looking for great stories and when he finds one, he sticks to it, no matter the time it takes to tell. DAD GENES took almost 7 years from idea to festival fruition, and that's a big credit to his team. Matt Isaac did a fantastic job producing as well as developing a festival schedule -- the film had its world premiere at Dances With Films NYC -- and Sara Barger put all this together with phenomenal editing skills.I know Sara -- she was one of the excellent instructors at my George Washington documentary film certificate program -- and the kind of teamwork that puts the three of their names together on the poster for DAD GENES is the kind of team I want to have on the show. I'll talk with Sara for the next episode.DAD GENES is a film that's worth a close look, for what it says about American society and the tremendous team that put it together.In this episode, Craig and I discuss:the crazy over half-a-decade path to making the film;how he got started in filmmaking -- as a kindergarten teacher! -- and then off to Latin America and Iceland filming messaging videos for non-profits;if people have to go the influencer router versus what he did to get started;what brought him to documentary?the story of DAD GENES and what people should expect when they watch;how they took seven years of footage and made it understandable;the improvement of his skillset as filming went on;the state of documentary and the quick ruintime;what he's working on next.Craig's Indie Film Highlight: POW WOW (2016) dir. by Robinson DevorMemorable Quotes:"And Matt [the producer of DAD GENES] called me and he was like, hey Greg, do you know any directors that might be interested in working on this? And I was like, yeah, Matt, me.""If I took a video of someone walking out of Trader Joe's with avocados, they'd be like that's a pretty good shot, Craig, whatever. But if I took the exact same context of someone walking out of a Guatemalan market with a bag of avocados, you're like, whoa, that's amazing." "It is not necessarily just documentary, it's for me...where is the story?""My producer and publicist is we gotta tell 'em something about the movie or that they're not gonna know what's going on. Yeah, okay, that's fair, but don't play all the cards.""I felt like if you watch this movie, you see the development and the maturity of my ability to make interviews happen.""I think the runtime will be dictated by the story."Links:DAD GENES WebsiteFollow Craig Downing On InstagramSupport this podcast at — https://redcircle.com/first-time-go/exclusive-content

Watch This Episode On YouTubeEvery Sunday, I'll post a quick video -- and podcast -- about an indie film from at least a year ago. Today's film: SOULEYMANE'S STORY (2024)Director: Boris LojkineWriter: Boris Lojkine; Delphine AgutCast: Abou Sangare; Alpha Oumar Sow; Nina MeurisseSYNOPSISSouleymane, an asylum-seeking cyclist who delivers meals in Paris, has only two days to prepare for a crucial interview. This interview will determine his residence permit status.Subscribe to our YouTube channelFollow us on LetterboxdFollow us on InstagramFollow us on XFollow us on FacebookFollow us on TikTokFollow us on LinkedInSupport this podcast at — https://redcircle.com/first-time-go/exclusive-content

Filmmaker Jeffrey Roth has never shied away from intriguing topics, looking to find the humanity behind some of the world's most influential stories: the Apollo astronauts, vice presidents of the United States, or a famed Egyptologist like he does in THE MAN WITH THE HAT (2026). He brings an eye for the story, not the politics, and that's what makes him an amazing filmmaker .In this episode, Jeffrey and I discuss:what's the best way to describe his newest film;how he got started in filmmaking;why he's interested in the human element of history;film in documentaries and his view on hybrid docs and re-enactments;the political environment and reaction if he announced he was doing a documentary on any sort of figure today versus when he did 41 (2012);the wild and bold story of how he secured the ability to make THE MAN WITH THE HAT;what he owes a subject as a documentarian;how he structured THE MAN WITH THE HAT;the name of the film and how he chooses topics;what's next for him.Jeffrey's Indie Film Highlight: FOR ALL MANKIND (1989) dir. by Al ReinertMemorable Quotes:"It's always one step ahead of you then where you really think that you should be." "I was with a buddy at a an event with these Apollo astronauts and we were just sitting around listening to them. And somebody had just mentioned it would be very interesting to see and watch a story about who they are as opposed to the science or the technology.""41 is not how to love or hate a Republican. It's about a story and a man...who happened to become president.""I would rather go to Egypt and shoot the antiquities there and shoot it either artistically, stylistically, whatever you wanna call it rather than get on a set.""I don't think the [political atmosphere] has changed. I would say it's probably heightened.""They made a big event with George and Barbara, with eight Apollo astronauts, six of the guys that walked on the moon in this one event. We showed the room and I walked out of there that night thinking I'll never see this guy again. But that was fun.""I owe them respect. I owe them honesty and to try to let them know really what the goal is. I don't want to tell them too much about what I'm trying to do. Because I don't want them to think about it. I want to...try to get the real person if I can. So when I'm sitting in an interview situation, I do not like to give the questions in advance.""I don't like to put somebody's name or really hit home to make the title too specific to what you're doing."Links:Watch THE MAN WITH THE HAT (2026)Follow THE MAN WITH THE HATSupport this podcast at — https://redcircle.com/first-time-go/exclusive-content

Watch This Episode On YouTubeEvery Sunday, I'll post a quick video -- and podcast -- about an indie film from at least a year ago. Today's film: TO THE WONDER (2012)Director: Terrence MalickWriter: Terrence MalickCast: Ben Affleck; Olga Kurylenko; Javier BardemSYNOPSISAfter falling in love in Paris, Marina and Neil come to Oklahoma, where problems arise. Their church's Spanish-born pastor struggles with his faith, while Neil encounters a woman from his childhood.Subscribe to our YouTube channelFollow us on LetterboxdFollow us on InstagramFollow us on XFollow us on FacebookFollow us on TikTokFollow us on LinkedInSupport this podcast at — https://redcircle.com/first-time-go/exclusive-content

My guest today, director Robert Ham, has lived a life of service -- to his country, to art, to his family -- and it moved me deeply to host him for the podcast. We talk about his military service in the Army as a combat cameraman; losing his wife to cancer and making a documentary about her beautiful life, of honoring a 9/11 family with his latest film, ZZASLOW K-427, which is screening in New York City on January 18th, 2026.And if this sounds heavy, that's the duopoly of sometimes difficult service. I can't speak to any other profession like medicine that often walks the line so closely with the fragility of life, but in the military, a positive outlook even in the harshest conditions is the only way you'll make it through, and that spirit is reflected today on the podcast. Welcome to our world. In this episode, Robert and I discuss:the instant rapport of veterans, immaterial of branch and age;how he joined the military as a combat cameraman and the advice he'd giving aspiring filmmakers thinking about joining the military (OCS is officer candidate school; new recruits can attend with a four-year degree);how he became the most decorated combat cameraperson in Army history;graduate school at USC and earning a Tillman Scholarship from the Pat Tillman Foundation;why he started his own production company, HAMMR Productions;the challenge of showing PTSD on screen and what he thinks of veteran-focused films;weighing his own mental health with making realistic films about painful parts of his life;his reflections on MADE WITH MELANIE (2022) and his advice for people embarking on a similar journey;releasing indie films on YouTube;working on different topics than military related films?how INTERPRETERS WANTED (2023) is a great primer for learning more about the U.S. relationship with Afghanistan;why he edits his own projects;the story behind ZZASLOW K-427 (2025), which is screening in NYC on January 18th;the festival strategy for his films;what's next for him.Robert's Indie Film Highlights: WARFARE (2025) dir. by Ray Mendoza; MY DEAD FRIEND ZOE (2024) dir. by Kyle Hausmann-Stokes; HOLLYWOOD GRIT (2025) dir. by Ryan Curtis; SAND CASTLE (2017) dir. by Fernando Coimbra and Chris Roessner; Rebecca Murga; Maximilian Uriarte; Mike DowlingMemorable Quotes:"As going through the unique experience of being in the military and then coming out of the military and now being labeled a veteran, which becomes so much part of our personality...when I meet other veterans, it is that common bond.""I did extra work. I was a Marine in FLAGS OF OUR FATHERS (2006) as an extra.""Same thing with everybody in the military. It's hard. You're asked to do morally complicated things that you have to then live with. And so that's the first thing that I would approach it with is that like, where do you stand?""It feels like the further you get away from the source of anything, the further from the truth you're gonna get, right?""I've always used the camera to almost separate myself from the trauma.""All I could do was film. I don't know, I'm not a doctor, I'm not, I'm like trying to read these crazy things that she's researching and that we're looking together and taking notes when doctors tell us diagnoses and what we're trying to do and what options and medicines and stuff I've never heard of before.""We had the conversation about how we share this with the world and she just basically said, I trust you." "She was a great person. She was a wonderful woman. She deserved a film to be made about her." "It does come back down to my own inability to know how to help a helpless situation.""I have four kids. I'm married, I have a mortgage. So whoever calls up and says, we got a budget, I'm like, okay, let's do this.""I'm very self-critical of my edits and I don't hold onto things very closely. As a director, you shoot something and you're like, oh, this is it. And then the editor has to be like, no, that wasn't it."Links:Follow Robert On InstagramHAMMR ProductionsWatch MADE WITH MELANIE (2022)Support this podcast at — https://redcircle.com/first-time-go/exclusive-content