Explore every episode of the podcast First Time Go
| Title | Pub. Date | Duration | |
|---|---|---|---|
| "It's Actually A Sunny Day In Ireland" Damian McCann, director of AONTAS (2025), Ireland's Oscar Pick for 2027 | 02 Oct 2026 | 00:32:27 | |
The most Irish friendly film podcast is back with another Irish guest, director Damian McCann, who brings a host of firsts with him -- first Irish language film made in Northern Ireland; first guy to be doing the laundry when he found out that his film, AONTAS (2025), is Ireland's nominee for the 2027 Oscar for Best International Film; and first guy to ask his parents about how to rob a bank and then use that information to make a banger of a heist film. On the last part: maybe. Hopefully. This is fantastic filmmaking that moves the bar foward for original screenwriting; Irish language films; and Irish filmmakers. Here's to hoping we get to hear some Irish at the 2027 Oscars. Damian and I discuss:
Damian's Indie Film Highlights: KNEECAP (2024) dir. by Rich Peppiatt; THE QUIET GIRL (2022) dir. by Colm Bairéad; FOUR MOTHERS (2024) dir. by Darren Thornton Memorable Quotes: " It's actually a sunny day in Ireland, which is such a rarity that we are-- you're actually legally not allowed to complain at all throughout the day." " I often say that a lot of Irish speakers will talk this way, that you're an activist first and then your job second." "I just had it in my head that I wanted to make a heist film." "As soon as you start writing [reverse chronology], you realize why people don't do it very often." "The ideal case here is some people hate it and some people love it." "The phone rings, do you fancy the Oscars?" Links: | |||
| Paula González-Nasser — Six Years Scouting, One Film: THE SCOUT (2025) | 25 Sep 2026 | 00:20:07 | |
Not a pop psychology show, but if it was, I'd explore more with my guest, writer and director Paula González-Nasser of the brilliant film THE SCOUT (2025), how she made her first feature about a job she didn't care for. I can't imagine a scenario where she was working as a location scout, and thought, this is my first feature film. And yet. THE SCOUT works brilliantly as a observational movie about the little seen lives of location scouts, even though their work has an outsized influence on the sets that you see in films. She captures all the little nuances of that life through wide shots and long takes. And she's here to share how she made it happen. Paula and I talk about:
Memorable Quotes: " If the slowness is by design, I hope people can at least understand or appreciate the reasons behind it, even if they don't like it." "I'm so glad that it took me not doing the job anymore and having some distance away from it to really appreciate the job." "I don't think I would have said yes to dinner. That's where I draw the line." "I was very naive in thinking like, "Oh, I could just do these wide shots in the same amount of time." And it's like, no, it requires a lot of setup and lighting and timing and blocking." "This film should be observational almost in the same way that the scout is observing these spaces and the people within these spaces." "My style or my voice, I don't think has changed. If anything, I've really leaned into what I discovered about myself through this film." Links: | |||
| Mylissa Fitzsimmons On Running Away And The Making of MACKENZIE (2026) | 18 Sep 2026 | 00:45:33 | |
My guest today, director Mylissa Fitzsimmons, previously released two features -- EVERYTHING IN THE END (2021) and THE LONG RUN (2025) -- and never got a premiere. She suffered from burnout of the excruciating process of making these brilliant films. And yet: here she is in 2026 with MACKENZIE (2026), opening at Film Fest Oldenburg this year. What does that say about perseverance? Resilience? A never quit attitude and the ability to keep going on even though this is really, really, fucking really hard? I think it says everything. I'm so motivated hearing her story and so excited for the journey of her new film and her renewed love of the art form. Hat tip to the best friend any indie filmmaker can have, Scott Monahan, for making this interview happen. In this episode, Mylissa and I talk about:
Mylissa's Indie Film/Filmmaker Highlight: Frank Mosley in JACKRABBIT (2026); Leonora Pitts in I HATE MYSELF AND WANT TO DIE (2024) dir. by J. Davis Memorable Quotes: " So the baby is ready to walk, and we're gonna be there all as proud parents watching." " This kind of moment in childhood that we all have where we realize like the reality of the real world is seeping through the cracks of your childhood innocence and you are growing up." I don't want to have to worry about saying, "hey, I really want you to work on this, but it's a microbudget and I can't really pay you a lot," and then feel guilty and then have them not really be 100% committed." " When MACKENZIE came along, my only goal was like, "hey, I just wanna make a movie and have fun again." "I actually set out to make a movie about people who are lost." " I had worked with kids before, and I know it's like you don't really direct them, they direct you." Links: | |||
| Thrilling sci-fi films, parenthood, and acting in your 60s: The Amazing Story of Ace Thor & Glen Steele | 11 Sep 2026 | 00:32:43 | |
Expectations are good in a lot of ways. They hold us to a standard and promote accountability. But they can also be creatively limiting. For actor and executive producer Glen Steele of the film INFINITELY DENSE, who you heard in the intro, he took the shackles off the word expectation and made his art, giving the middle finger to age or any other perceived limitation. INFINITELY DENSE is having its market screening at the Toronto International Film Festival on September 16th, 2026. If you have the ability to go, you should. It's a near-realistic sci-fi look at what happens if a guy unhappy with his life experimented with augmented AI. I'm also joined by writer and director Ace Thor, who met Glen through his mom's acting class. This is an insane story of two people pushing the boundaries of independent film, both through the subject matter of their work and their overall art. And -- Ace Thor & Glen Steele should be in a cop buddy comedy, right? I'd love it, because it would be another opportunity to have them on the podcast. In this episode, Ace, Glen, and I talk about:
Ace's Indie Filmmaker Highlight: Nicolas Roeg Memorable Quotes: " It's more of a story of what happens when we are only in relationship with ourselves." "It's just like no matter what you try and do in my family, if you wanna do something else, it's just not possible." " No one's gonna hire me to be a lead in a movie at this point in my life." " I didn't want the sci-fi to be the focus, right?" " It's hard for the 64-year-old Glenn to tell a 25-year-old what to do because I wouldn't have listened to me when I was 25. Links: | |||
| Indie Film Highlight: RYE LANE (2023) | 06 Sep 2026 | 00:01:17 | |
Every Sunday, I'll post a quick video -- and podcast -- about an indie film from at least a year ago. Today's film: RYE LANE (2023) Director: Raine Allen Miller SYNOPSIS Two twenty-somethings reeling from bad breakups spend an eventful day wandering South London, helping each other face their nightmare exes and rediscovering the possibility of romance. | |||
| Betting Big On Yourself Through Helping Others: Dylan Mulick and HOW TO CHANGE THE WORLD | 04 Sep 2026 | 00:52:00 | |
When you normally see a series like HOW TO CHANGE THE WORLD, put together by my guest, filmmaker Dylan Mulick (and the team at World Within Studios), the tendency is to brush it off as do-gooders doing good things. Where is the conflict in that? A lot of great documentaries aren't seen because of these assumptions. Dylan turns the usual tropes of the series upside down in so many ways by going there: inner city Chicago; the Bahamas; wherever there is actual conflict for people who are looking to change our planet. The result is something altogether fresh: a ten part series, starting September 10th, 2026 that's shot cinematically and doesn't make you feel like you're watching an infomercial or about to see a Gofundme link roll across the screen. It's premiering on YouTube, it has the clout of Mark Cuban and others behind it, and the team's end goal is to launch a studio through their nonprofit. This is what the future looks like. Hat tip to David Goldblum for making this interview happen. If you haven't heard my conversation with him, it's a must-listen. In this episode, Dylan and I talk about:
Memorable Quotes: " How to Change the World is a 10-episode documentary series that is essentially like Chef's Table for social entrepreneurs." " They're not the people that you often see in the headlines. And we believe what they're doing should be rewriting the definition of what a founder and a CEO should be. So we wanted to show them cinematically. We wanted to shoot them heroically." " Mentorship is so critical, and I think it's lost in today's Hollywood because the jobs are so competitive and the jobs are so few. " These are all ideas that are probably pretty close to us, whether consciously or just like the mysterious stresses in our lives. But if you don't show a solution and then you don't take that solution and clearly communicate it to an audience, you can't build a movement, and ultimately World Within wants to build a movement from these ideas." " I don't know that [EPs] move the needle, unless of course they're the sole person on camera, right?" " The buyers are too reluctant nowadays, and I think quite honestly, like every famous person is pitching their own show." " And I'm trying to walk the walk of this idea of always trying to be failing, Links: | |||
| War Zones And Walks To Legendary Romances: Orlando von Einsiedel, director of THE CYCLE OF LOVE (2025) | 01 Sep 2026 | 00:16:54 | |
One of the most fascinating things I've learned about in conducting interviews are how top awards can end up meaning -- nothing. Think back -- can you name who won the Oscar for best documentary short five years ago? Two years ago? So often, it doesn't show a noticeable trajectory change in the filmmakers' careers. That's not true of my guest today, Orlando von Einsiedel, whose film, THE CYCLE OF LOVE (2025) opened in New York on August 28th and later in September for the rest of the country, has continually built on his success through taking on larger projects. In the last 16 years, he's directed or produced at least 31 shows and series, an incredible workflow that speaks both to his work ethic and the value of awards (maybe?). It's hard to tell whether the latter part mattered. What we can say is his filmmaking is sincerely moving, and I'm so glad to see him tackle evermore ambitious topics like THE CYCLE OF LOVE. In this episode, Orlando and I talk about:
Memorable Quotes: " Every story, every film we make, I just want people, audiences to connect with it." " The challenge was there was very little archive footage from PK's journey, and and normally that is what kills a documentary in its tracks." " I don't think anyone should start a film project thinking about awards." " It doesn't matter how experienced you are, it doesn't matter how many awards you've won, every project needs a different path." Links: | |||
| Indie Film Highlight: EVELYN (2018) | 30 Aug 2026 | 00:01:33 | |
Every Sunday, I'll post a quick video -- and podcast -- about an indie film from at least a year ago. Today's film: EVELYN (2018). Director: Orlando von Einsiedel SYNOPSIS When a 22-year-old kills himself, his three siblings try to bury their pain. Ten years later, they go on a hiking trip and seek out the places he liked to walk in the English countryside, allowing them to contemplate their brother's life. | |||
| Shooting A Coming Of Age Story From A Child's Perspective: Ang Geck Geck Priscilla, dir. of AH GIRL (2026) | 28 Aug 2026 | 00:23:20 | |
If you are staying up till 1030 pm to talk with me from Milan, Italy, well, I'm going to be grateful no matter what. But even better if your film is truly exceptional. My guest, Ang Geck Geck Priscilla, director of AH GIRL (2026), which premiered at Rotterdam and now screens at the Toronto International Film Festival next month, made a fantastic coming of age story from a child's perspective, cinematically. She wrote a semi-autobiographical story -- 70-80% true -- that her parents haven't even seen. And she's a Singaporean filmmaker making waves at huge festivals in ways that, if we're being blunt, we don't usually see. But she didn't want to play the comparison game; she doesn't care about all that. She wants to tell her own story. I'm absolutely here for it, and if you're at TIFF, you should be there, too. What a great talent in director Ang Geck Geck Priscilla. Ang and I talk about:
Ang's Indie Film Highlights: WE ARE ALL STRANGERS (2026) dir. by Anthony Chen (a fellow Singaporean and also playing at TIFF); THE VIOLINIST (2026) dir. by Ervin Han & Raul Garcia Memorable Quotes: " The small part that is not real is actually the message that I want to tell my parents." " My producer would tell me about this film, and then they will start comparing. I honestly, I don't really care." " I'm really happy to be able to tell a Singapore story because I think as Singaporean, a lot of people always say we don't have our own identity." " I'm writing a psychological horror film next. I love horror." Links: | |||
| TWO UGLY PEOPLE (2025), One Exceptional Director: Peter Skinner | 25 Aug 2026 | 00:34:10 | |
It always fascinates me when people with other artistic backgrounds settle on making films. They end up creating an art form that is noticeably different than their peers. My guest, Australian director Peter Skinner, spent five years as a sculptor, and then with the precision that art form requires, turned his focus into making astonishing films like his most recent, TWO UGLY PEOPLE (2025). It's a hard film to describe but a beautiful one to watch. The impetus for the story of TWO UGLY PEOPLE came in the form of a question: " how do I tell a story about two people who want be together, but the only way they can be together is by being strangers?" and Peter actualized that here, in a work worthy of a sculptor. In this episode, Peter and I talk about:
Peter's Indie Film Highlight: BABYTEETH (2019) dir. by Shannon Murphy Memorable Quotes: "I made figurative sculptures and that were based on myths and obviously very, narrative-based. But a sculpture is a, a physical object that sits in a space that if it's a static object, doesn't do anything other than sit there. So you have to tell a story as economically as possible, but also as much as you can in the static frame. So then when you look at filmmaking, filmmaking is just that 24 times a second over an hour and a half of a film." " Imagine you're a painter and you have to buy all the materials and you have to paint all the thing, and you've never painted a big painting before, but it's gonna cost you a million dollars, and then people have to really like it. It's almost a fool's errand." "I wanted to make a film I've never seen before." " It's like these places that hold every room is its own story, and I'm just telling you the story of these two people in these two rooms." Links: | |||
| Indie Film Highlight: MOON (2009) | 23 Aug 2026 | 00:01:37 | |
Every Sunday, I'll post a quick video -- and podcast -- about an indie film from at least a year ago. Today's film: MOON (2009) Director: Duncan Jones Cast: Sam Rockwell; Kevin Spacey; Dominique McElligott; Kaya Scodelario SYNOPSIS Astronaut Sam Bell's (Sam Rockwell) three-year shift at a lunar mine is finally coming to an end, and he's looking forward to his reunion with his wife (Dominique McElligott) and young daughter. Suddenly, Sam's health takes a drastic turn for the worse. He suffers painful headaches and hallucinations, and almost has a fatal accident. He meets what appears to be a younger version of himself, possibly a clone. With time running out, Sam must solve the mystery before the company crew arrives. | |||
| The Best Film I've Watched All Year (Part 2): Cinematographer Tom Ford of URCHINS (2026 | 21 Aug 2026 | 00:27:29 | |
At the risk of sounding corny (and real in a world of AI slop podcast descriptions), let me add a fourth F: Ford. As in Tom Ford. No, not that one -- the cinematographer Tom Ford, who made my favorite film of the year absolutely shine through his work years ago. What do I mean by that? As we talk about, much of what I love about URCHINS is its lighting, and that came from enduring relationships that Tom built over the years that he brought on for this film. There's a huge lesson in that and Tom's career; you can have all the talent in the world, but if you aren't a team player, the big brands and great films won't call you. That's not this Tom Ford's problem. Just the opposite. Film Independent Spirit Awards, are you listening? URCHINS should win awards for its visually stunning canvas, and I'm so glad to be joined by the person who made it happen. Tom and I talk about:
Tom's Indie Film Highlight: SOME RAIN MUST FALL (2024) dir. by Qiu Yang Memorable Quotes: " Framing's always been more instinctive versus yeah, rule of thirds." " it's all about just building connections with other people who have an interest in that kind of work." " I grew up in a kinda small town in England where it has some similarities to Florida." " Adam also offered back ends to everyone." " Sometimes we can try and always show the face too much, and sometimes it's interesting to withhold a bit from the audience so they can put two and two together themselves or come up with their own meaning." " Yeah, I definitely wouldn't put loads of money into a short. I think it's worth doing a short as a proof of concept, but even if it's a proof of concept, you don't need everything to be perfect as long as the storytelling's good." " If it's just white walls and a camera, it's like you can have the nicest lenses in the world, but it's not gonna do as much for the story as a proper like decked out place." Links: | |||
| The Best Film I've Watched All Year (Part 1): Director Adam Rioux of URCHINS (2026) | 18 Aug 2026 | 00:40:42 | |
The story behind URCHINS (2026), a coming of age tale set in the waterways of Florida, distills what is best and what is worst about the modern state of independent film. URCHINS is a dazzling display of cinematography and storytelling at its most compelling: it shows Florida like you've never seen before and the story is told in a very unconventional way without the tropes of the genre. But: it never made it into a festival. Distributors wondered why it didn't cost more. A Black List critic gave its script a 4. The film doesn't fit neatly into the boxes of what people think will sell. Those people are wrong. The film has premiered to sold-out shows around the country; has a substantial social media following versus competitors; and resonates with people who actually watch it. So what we have with URCHINS is a fantastic prism for the state of the industry and even if I didn't love the film so much, it would make for a great podcast. I'll be back on Friday with my conversation with cinematographer Tom Ford, and just letting you know in advance, there might be other URCHINS episodes. It's that good. In this episode, Adam and I talk about:
Adam's Indie Film Highlight: POOLS (2024) dir. by Sam Hayes Memorable Quotes: " What sets it apart, especially in the coming-of-age genre, is that it does, like you were saying, subvert kind of the tropes of the genre and...not in an aggressive way, but in a way that to me felt very refreshing." " My parents were very much like pushing the standard path of get a good job, be able to pay the bills." " And he was like, "if you only make one film for the rest of your life, if you only get one chance to cash in on this, what is that film?" And at that point, it was just like it had to be URCHINS." " I hate being too heavy-handed, and that's maybe sometimes a criticism of my work is that sometimes it's a bit too subtle at times." "It doesn't really have the traditional, like beats in that way or structure, and that is why The Black List hated the script." " Sometimes people love a film just for a singular character, not even about what they did." " I remember early on in when I first started doing just video work, I realized I was like, I'm really good at movement and I'm really good at like kinetic energy in a project, but I never felt like I could do still frames." " It was the best moment of my life probably to just hear everybody just responding to these jokes and feeling the feels." Links: | |||
| Indie Film Highlight: JIRO DREAMS OF SUSHI (2011) | 16 Aug 2026 | 00:01:37 | |
Every Sunday, I'll post a quick video -- and podcast -- about an indie film from at least a year ago. Today's film: JIRO DREAMS OF SUSHI (2011) Director: David Gelb Cast: Jiro Ono; Masuhiro Yamamoto; Daisuke Nakazama; Harutaki Takahashi SYNOPSIS A documentary about an octogenarian sushi master, his two sons, and the tiny restaurant in which they tirelessly work. | |||
| Shih-Ching Tsou, dir. of LEFT-HANDED GIRL (2025) | 14 Aug 2026 | 00:29:54 | |
From the looks of it, LEFT-HANDED GIRL (2025) has everything going for it. Fantastic film. Taiwan's 2025 Oscar submission (and widely expected to be a nominee.) Edited and co-written by Sean Baker. A Netflix rollout. But the reality is much more complicated. This was a 20 year labor of love by my guest, director Shih-Ching Tsou, and we talk about everything related to her career, how her perspective of the film changed after its release, the drawbacks of filming this on an iPhone 13, the pros and cons of going with Netflix, and more. Shih-Ching Tsou's story is one of the best in independent film, and I'm so excited for you to hear her perspective about filmmaking and her personal, wholly original, gorgeous film, LEFT-HANDED GIRL. We talk about:
Shih-Ching Tsou's Indie Film Highlight: JAIL TIME RECORDS (2026) dir. by Dione Roach and Steve Happi Memorable Quotes: " When I first made the film, I, I didn't know how people would react to it." " A lot of people told me about their own left-handed stories, about their own mother and daughter stories." "I didn't study film. I met Sean when when he was editing his first feature, Four Letter Words." "The only challenge [with the iPhone 13] is the focus." " With Netflix, I feel like LEFT-HANDED GIRL really reached to every corner of the world." Links: | |||
| Lee Kirk, dir. of NIMRODS (2025) | 11 Aug 2026 | 00:21:13 | |
I talk to filmmakers all the time who say things like, I'm reviving the romcom. Or my film is a homage to 1950s Westerns. The statements encompass so many genres but the truth is, most of the time they don't work. It ends up being a facsimile of something great, which isn't good at all. This is a long way at getting to the point that NIMRODS, opening in theaters on August 14th, is the absolute real deal: a film that will remind you of the GOONIES, as my guest, director Lee Kirk hints at, without trying to remake it. It tells the story of three kids driving cross country to open for Green Day on New Year's Eve, and as you might imagine, complications ensue. I'm so excited to celebrate original art with a director who knows his classics. Lee and I talk about:
Memorable Quotes: "We started talking about the movies that we wanted it to feel like, right? So one of the big ones was "Goonies." We talked about "Goonies," but also movies like "Footloose" and "Vacation" "It's a film about being a teenager and the struggles that go along with not having all the agency over your life, having these hopes and dreams and beliefs in yourself, and wanting to find something, wanting to build a life, but frustrated with what you got." "Every actor should be [writing their own scripts." " If you like Quentin Tarantino, make your version of "Pulp Fiction," and you're gonna find something in there about what you have to say." "Theatrical was always the goal." Links: | |||
| Indie Film Highlight: OVERNIGHT (2003) | 09 Aug 2026 | 00:01:24 | |
Every Sunday, I'll post a quick video -- and podcast -- about an indie film from at least a year ago. Today's film: OVERNIGHT (2003) Directors: Tony Montana; Mark Brian Smith Cast: Troy Duffy; Harvey Weinstein; Chris Brinker SYNOPSIS This documentary follows Troy Duffy, a brash, foul-mouthed bartender whose screenplay for an action film called "Boondock Saints" scores him a generous contract to write and direct the film for Harvey Weinstein at Miramax Studios. Duffy's band, the Brood, is also in the midst of signing a contract with Madonna's Maverick Records. Duffy's fiery manner is instrumental to his success, but when the deals go sour, no one seems safe from his explosive temper. | |||
| Yiru Deng, dir. of TUNNEL VISION (2026) | 07 Aug 2026 | 00:21:13 | |
I'm always on the lookout for original filmmaking to highlight, so if you just look at the objective facts of my guest Yiru Deng's film, TUNNEL VISION (2026), which premiered at LA Shorts International Film Festival on August 4th, 2026, you'll be impressed: 4 minute run time. Animation with just killer transitions that we find out were painful to draw. An excitingly original topic that is made to be shown on a screen. By itself, those are amazing. But then when you hear Yiru speak about what it meant for her mother. who is affected by vision loss, it takes the work so much higher, into the best possible use of what we call filmmaking. I feel so lucky to talk with her about her incredible journey. In this episode, Yiru and I talk about:
Yiru's Indie Film Highlight: DON JOSE (2023) dir. by Moshe Ben-Avraham; PILLOWZZZ (2025) dir. by Moshe Ben-Avraham Memorable Quotes: "The film TUNNEL VISION is about womens' struggles under the expectations and the oppressive love in families." " I feel like if you have a strong passion in the thing that you wanna do and you feel like you have a clear story that you want to talk about, a clear message that you want to express, of course, go for it." " It was stunning to watch, but it was painful to draw." Links: | |||
| The Funniest (NSFW) Film Of The Year: Elliot Connors of I'M GOING FULL FRONTAL (2026), now on NoBudge | 04 Aug 2026 | 00:29:32 | |
I couldn't stop laughing during the funniest film of the year, directed by my guest, Elliot Connors. It's called FULL FRONTAL, or if you want to use the full title (and you should), it's I’M GOING FULL FRONTAL FOR MY NYU STUDENT SHORT FILM (2026), streaming today, August 4th, 2026 on NoBudge. I'd argue getting laughs is the hardest thing to do in independent film so that's why comedies are so relatively rare. And to do it in a short film -- that's a tough sell. But Elliot has the, um, goods: He is a 2026 Just for Laughs “New Face” for his adult animated series OMNI, about a dystopian virtual reality and the group of lovable curmudgeons trying to change it. BA from Yale, MFA from NYU, just one watch of FULL FRONTAL, you'll see what I mean. It's so, so fucking funny. But seriously: not safe for work. I'm in early on the Elliot Connors rocket ship and can't wait to get to the Moon. Hat tip to the absolute best friend of the pod, Hope Lawson, for making this conversation happen. In this episode, Elliot and I talk about:
Elliot's Indie Film Highlights: PAJARITO (2026) dir. by Pilar Garcia-Fernandezsesma; JEFFREY, BAD DAY (2025) dir. by Theo Matza; COUPLES THEFTAPY (2026) dir. by Kiran Arain Memorable Quotes: " Kentucker was saying, "We probably got a good 20 seconds of penis there." And I was joking that I'd used a prosthetic, so it wasn't my real penis, but it was my real penis. And there's plenty of it in the film." " I grew up watching, like binging comedy sitcoms." " If the jokes are working for you on the page, chances are it'll translate." " So I'm always getting notes on my features of "this is not quite working." But when I write a half-hour comedy, I get a lot more positive feedback because I feel like I know the rhythm more." " The director of my program, when I said, "should I really be studying screenwriting at such a tough time for the industry?" He said, "It's always tough." Links: | |||
| Indie Film Highlight: RACHEL GETTING MARRIED (2008) | 02 Aug 2026 | 00:01:46 | |
Every Sunday, I'll post a quick video -- and podcast -- about an indie film from at least a year ago. Today's film: RACHEL GETTING MARRIED (2008) Director: Jonathan Demme Screenplay: Jenny Lumet Stars: Anne Hathaway; Rosemarie DeWitt; Bill Irwin; Debra Winger SYNOPSIS A young woman who has been in and out of rehab for the past ten years returns home for the weekend for her sister's wedding | |||
| Anthony Argento, Festival Director Of Greenpoint Film Festival | 31 Jul 2026 | 00:28:27 | |
There's something especially New York about the sentiment of my guest, Anthony Argento, saying, "we're only going to give you what you give us" about film promotion. And in the best possible sense, that kind of New Yorker attitude is at the heart of the Greenpoint Film Festival, now celebrating its 15th year and 7th under the leadership of Mr. Argento, who started officially in 2020 but worked with the festival for a few years beforehand. The Greenpoint Film Festival first came on my radar last year when they accepted the literal second guest of the pod's film, SUNSET SOMEWHERE (2026), directed by Christopher Jarvis, and my interest only grew when I looked at their international, diverse lineup. With the organizing principle "unbound", Greenpoint is making its name as a festival for filmmakers by filmmakers, and I'm excited for it continuing under Anthony's leadership. Make your way to Greenpoint August 5th through the 9th; after listening to this episode, I think you'll realize why it's worth it. Anthony and I talk about:
Memorable Quotes: About running the festival during the pandemic: " I came up with the drive-in because we were able to be consolidated in their own cars, in their own bubbles, and everyone was safe and enjoying the the artworks, and we really made it happen, and I feel like that was a revolutionary step for us." " If you check on our socials, we're, posting individually for every project." "We're only going to give you what you give us." " I see this a lot...people...hold on to their film and always taking advice and always changing things up and trying to re-edit and that's the hole that you don't want to fall into." Links: | |||
| Writer/Producer Kate Radcliffe Of STILL LIFE (2026) | 28 Jul 2026 | 00:25:16 | |
I imagine there's not a lot of debate out there but here's what I believe: there's nothing worse in the human experience than losing a son or daughter. It violates our understanding of the cycle of life and it forces a unyielding loss amongst the living that can never be taken away. Any experience so intense can, in the right hands, be channeled to create great art, so I am drawn to stories like STILL LIFE (2026), which is an official selection this year of the HollyShorts Film Festival. And let me tell you: in the hands of writer/producer Kate Radcliffe and director Sophie King, they deal with the topic of stillbirth with empathy, humor, and understanding. I think this film will forge important new conversations and result in so many people suffering the worst pain that we could all experience to feel a little bit more heard. Bravo, STILL LIFE team, you made brilliant art. In this conversation, Kate and I talk about:
Memorable Quotes: " That was the actual reason we made the film was to start that conversation about baby loss." " We lost Dexter, and we went into lockdown, and so that was incredibly tough, but it meant I had to sit with my grief." " When I first started writing it, my parents were-- I was like, "Oh, I'm doing a dark comedy about stillbirth." And they were like, "It doesn't sound very funny." Links: Follow STILL LIFE On Instagram The Straight 8 Super 8 Experience That Sophie King Won An Audience Award in 2022 | |||
| Indie Film Highlight: SHOT CALLER (2017) | 26 Jul 2026 | 00:01:57 | |
Every Sunday, I'll post a quick video -- and podcast -- about an indie film from at least a year ago. Today's film: SHOT CALLER (2017) Director: Ric Roman Waugh Written By: Ric Roman Waugh Stars: Nikolaj Coster-Waldau; Omari Hardwick; Lake Bell; Jon Bernthal SYNOPSIS A California stockbroker is arrested and charged for a fatal DUI accident, and on his lawyer's advice, takes a plea deal which sees him sentenced to 16 months in prison. While incarcerated, he becomes involved with a violent white supremacist gang. | |||
| Zoe Zhou of WE ARE HAPPY FISH (2025) | 24 Jul 2026 | 00:15:35 | |
Director Zoe Zhou's film, WE ARE HAPPY FISH (2025), is described as "a nihilistic girl escapes from her family with a robot boy to revive a dead fish", which by itself is interesting and accurate. But it only nibbles at how wild, zany, carefree the film is. Zoe also pushes back at the idea that film school would ever take the edges off her work. In this film, she does an amazing job blending "surrealism, dark humor, and social commentary", as she states for her goal, and I'll be the first person in line to watch whatever is next. In this episode, Zoe and I talk about:
Zoe's Indie Film Highlight: WE ARE LITTLE ZOMBIES (2019) dir. by Makoto Nagahisa; AND SO WE PUT GOLDFISH IN THE POOL (2017) Memorable Quotes: " For my style, I usually make like very bloody or like Japanese cult kind of stuffs before this short film." " I think school always trying to protect the students from doing dangerous stuff, so I'm always kinda pushing the boundaries from the classes. Links: IMA Film student wins Best Film at MDFF Selects Student Showcase 2025 | |||
| Will Niava of JAZZ INFERNAL (2025) | 21 Jul 2026 | 00:23:07 | |
Director Will Niava's film, JAZZ INFERNAL (2025), is showing on July 23rd at the Future of Film Showcase in Toronto. If you're reading this before the date and can go, what are you waiting for? Buy tickets! It's that incredible, one of the best films I've seen all year. It won a Short Film Jury Award at Sundance last year and very deservedly so. Will is an Ivorian-Ghanaian film director and screenwriter based in Montreal, Quebec. And think about that sentence for a moment: there's few like it in the English language that conjures up that many cultural influences in 13 words. And the best way to describe Will's films is that he brings all of those together into pure artistry. If the interview feels short, blame me. The Future of Film press person asked, will 20 minutes be fine, and I stupidly said yes and regretted the decision fifteen seconds into the interview. On your next film, Will, I won't make that mistake again, trust me. In this episode, Will and I talk about:
Will's Indie Film/Filmmaker Highlight: PARADISE (2025) dir. by Jérémy Comte; MY FATHER'S SHADOW (2025) dir. by Akinola Davies Jr; Harley Francis; Zion Saffer; Samuel Caron Memorable Quotes: "[My wife told me] you have to talk about your grief. And my grief felt personal." " This is what a short film has done for me, so I can never recommend against it." Links: Buy Tickets For JAZZ INFERNAL at The Future Of Film Showcase | |||
| Hazel McKibbin Of LAST MAN UP (2026) | 20 Jul 2026 | 00:16:56 | |
My guest, Hazel McKibbin, directs films that make top festivals. She edits films that make top festivals. And she makes commercials for brands at the Met Gala. And yet: Here's Hazel taking on a project about masculinity called LAST MAN UP (2026). Last episode, I praised writer and actor Robert R. Palmer for offering Hazel the opportunity to direct his project, so she deserves equal credit for taking it on. I could see a lesser director -- a lesser person -- saying no, but as she talks about in the episode, she saw it as an opportunity to expand her skillset. To say I wish there were more directors like Hazel is a bit of a non-descriptive statement: of course. What I mean by that is let's celebrate risk takers who leave their comfort zone of the material they are used to and take on somebody's project, or do something different. And if you're as talented as Hazel is, it'll work out beautifully. Hazel and I talk about:
Hazel's Indie Film/Filmmaker Highlight: AU HASARD BALTHAZAR (1966) dir. by Robert Bresson; Joanna Hogg Memorable Quotes: "It's a story about what it means to be the man of the house." " If you just leave it to an editor, and they fix it before they give it to you, I feel like you're missing an opportunity to to learn as a director." "I think actors as writers, they are so good at dialogue." " One of the things that especially I tell my students, [short films are] unity of time, place, and action." " Between commercials and narrative, there's not a lot of crossover." " I submitted it because you submit your first film to Sundance, you just do." Links: Watch DOUBLESPEAK (2021) | |||
| Indie Film Highlight: LEFT-HANDED GIRL (2025) | 19 Jul 2026 | 00:01:36 | |
Every Sunday, I'll post a quick video -- and podcast -- about an indie film from at least a year ago. Today's film: LEFT-HANDED GIRL (2025) Director: Shih-Ching Tsou Writers: Shih-Ching Tsou; Sean Baker Stars: Janel Tsai; Shih-Yuan Ma; Nina Ye SYNOPSIS After a single mother and her two daughters return to Taipei to start anew, their fragile family dynamic is tested by debt and a dying patriarch. But when the traditional grandfather strictly forbids the youngest, left-handed granddaughter from using her 'devil hand,' generations of deep-seated family secrets begin to unravel. | |||
| Actor/Writer Robert R. Palmer Of LAST MAN UP (2026) | 17 Jul 2026 | 00:20:55 | |
This is a director's podcast, but the truth is I don't talk with enough actors on here about the struggle they face in indie film. It offers a different lens on how difficult it is to get things made. That's why I'm so happy to be joined by Robert R. Palmer, actor/writer in the film LAST MAN UP (2026), which premiered at the Palm Springs International ShortFest. When we talked about the plight of actors, and I went through the ways especially an LA-based person had to get ahead -- influencing; writing your own script for a great role; other social media activities -- the difficult challenge for actors right now is getting ahead....by actually acting! So Robert did something creative: he wrote a project that he could star in and then reached out to an ultra-talented director named Hazel McKibbin. (I'll talk to Hazel next episode.) It's both a show of humility and genius, and I cannot wait for you to hear his story. Robert and I talk about:
Memorable Quotes: "It's a tragedy, but a fun tragedy." On masculinity and feminism: " they're two sides of the same coin"; "I'm an actor, first and foremost." " Being a young actor in LA, it's a grind. It's a hustle." "Actors want to be left alone." Links: | |||
| Daniel Bogran Of THE KILLING MOON (2025) | 14 Jul 2026 | 00:19:44 | |
Director Daniel Bogran made a film that could be spoiled with just a few words and it would change the entire dynamic of how you watch it. So I'm not going to do that. But the "how" behind him filming THE KILLING MOON ("A wealthy couple's lake vacation takes a sinister, seductive turn when an attractive stranger shows up wounded at their door") is definitely worth a conversation. It had its international premiere at Raindance in London this year. So is his short film LOW (2019), now streaming on YouTube. You'll see a few familiar actors on LOW, and how he was able to keep his crew together for over 6 years is certainly something we talk about. New Orleans, tropes in films like this, we talk about it all with Daniel for the pod. In this episode, Daniel and I discuss:
Daniel's Indie Film Highlight: FALCON LAKE (2022) dir. by Charlotte Le Bon Memorable Quotes: "[Editing] is something that's ... completely unique to filmmaking. Every other part of filmmaking comes from something else." " I think a lot of it is just developing almost like a secondhand language." " I personally like cliches and tropes because they are very potent. They have a lot of power in them and a lot of expectation that's built into them." Links: Follow THE KILLING MOON On Instagram | |||
| Benny Chen Of HAND (2026) | 10 Jul 2026 | 00:23:27 | |
How many Gen Z filmmakers say, nah, the story I'm feeling is a middle aged undocumented Chinese immigrant cook worried about survival in America. And it's 23 minutes long. You'll hear in almost every professional film course or, ahem, podcast, short films are hard to make or make your film shorter for festivals. And that advice is right, of course. It's great advice. But it doesn't even begin to speak to what makes art and a singular vision special, and for my guest today, Taiwanese-American filmmaker Benny Chen, his vision is HAND (2026), which premiered at the Cleveland International Film Festival this year, and I'm here for it. Here for what's great about filmmakers like Benny. Understand the advice, and then if your vision calls for it, break it. It's the only way we got somewhere closer to the Holy Grail of independent filmmaking: authenticity. And that alone is the advice that can never be sacrificed. In this episode, Benny and I discuss:
Benny's Indie Film Highlight: WE WERE HERE (2026) dir. by Pranav Bhasin Links: | |||
| Third Anniversary Pod: Gar O'Rourke Of THE SIEGE OF PARADISE (2026) | 07 Jul 2026 | 00:37:50 | |
Happy third anniversary to the pod and I'm so happy to be spending it with Irish filmmaker -- and award-winning ad maker -- Gar O'Rourke. When people ask about the podcast, the usual first question is, what are your favorite episodes? And I respond with, well, they are all my favorites. It's true. I wouldn't publish something if I wasn't proud of it, and mainly because of audio or other host-related failures, there's been a handful you'll never get to hear. But it's also a bit of a dodge because I know what they are asking and of course I have favorite episodes. I can tell it as soon as we stop recording, and I'm guessing you can tell it, too. The anniversary episode always gets one of those. Gar's latest film, THE SIEGE OF PARADISE (2026) had its world premiere at the Tribeca Film Festival, and knowingly reaches for a higher form of filmmaking. A lesser director would have taken the subject of Cinque Terre on the Italian Riviera and made it into something mocking influencers and tourists in favor of the aphoristic locals. Gar is one of the best directors in independent film, so we don't have that problem here. What he gives you is a measured, gorgeously shot take on what it means to live in a place like Cinque Terre, either as a tourist or a local; it's a deeply moving film. It's screening in Galway soon for its Irish debut -- check it out if you can there -- or just look for Gar at a festival near you. Whether it's him or another Irish filmmaker, I promise it's the best way to spend your time. In this episode, Gar and I talk about:
Memorable Quotes: " Irish people are the best people to hang out with at film festivals, or most dangerous people to hang out with at film festivals." "THE SIEGE OF PARADISE is like a holiday fever dream." " My life is probably the worst example to follow if you want to be a filmmaker." " I always had this helicopter intro that I wanted to do with the mayor." " In Ireland, it begins with the attitude around film. It begins with the attitude around this is something valuable." " Success in a European mind is...prestige or it's getting a great festival life. It doesn't need to have as much commercial and profit incentive." Links: | |||
| Indie Film Highlight: PAYING FOR IT (2024) | 28 Jun 2026 | 00:01:32 | |
Every Sunday, I'll post a quick video -- and podcast -- about an indie film from at least a year ago. Today's film: PAYING FOR IT (2024) Director: Sook-Yin Lee Story by: Chester Brown Stars: Emily Lê; Andrea Werhun; Dan Beirne SYNOPSIS When an introverted cartoonist's girlfriend wants to redefine their relationship, he begins sleeping with sex workers and discovers a new kind of intimacy in the process. | |||
| Why Film In Minnesota? Deputy Director Of Explore Minnesota Film, Nell Lawrenz-Wareham | 26 Jun 2026 | 00:22:12 | |
I love Minnesota; in fact, on June 29th, there I'll be, beside one of its 10,000 lakes, ready for America's 250th birthday. (It's the best place to spend the Fourth.) It's also a great place for filmmaking so I talk about that with deputy director of Explore Minnesota Film, Nell Lawrenz-Wareham. This was recorded at the beginning of the month so apologies about any confusion about application deadlines. I am quite certain if we support filmmaking in Minnesota, they'll be back around this time next year. In this episode, Nell and I talk about:
Nell's Indie Film/Filmmaker Highlight: ISH MEETS A MERMAID (2025), dir. by Jonathan Thunder; Abby Harri Memorable Quotes: " Most of our permits are free. We can get back to you on an application in under 30 days. We have $92 million in a tax credit pool waiting for you." " And this is also a place where artists can afford to live and stay." Links: Follow Explore Minnesota On Instagram | |||
| Special Tribeca Podcast: Lindsay Calleran, dir. of CAITY (2026) | 26 Jun 2026 | 00:34:30 | |
I conclude Tribeca special coverage with one of my favorite films at the festival, CAITY (2026). To say Lindsay Calleran has been through some things to get her debut feature made is underselling it by a lot. Please read this First Person IndieWire article that Lindsay wrote; it gives a lot of important background to her story and how CAITY came to be. I'm so impressed by so many different things: the resiliency she showed in both losing her father and getting this film made; the journey to sobriety; having the guts to put it all out there for the world to see. Mostly, though, I'm impressed she made an absolute banger of a coming-of-age film. It has amazingly unique cinematography and an ending that you won't predict. It leaves you wanting to know more (and then feeling a little heartbroken after). That's great filmmaking. Lindsay and I discuss:
Lindsay's Indie Film Highlight: LONG'S LONG LOST & MINI MART (2025) dir. by Julian Doan Links: | |||
| Special Tribeca Podcast: Lily Weisberg, dir. of RARE BIRDS (2026) & Maria Sofia Hernandez, dir. of LA LUCHA DE LUCÍA (2026) | 24 Jun 2026 | 00:41:23 | |
The Tribeca Film Festival helped organize this tremendous in-person panel with two New York filmmakers: Lily Weisberg, dir of RARE BIRDS (2026) and Maria Sofia Hernandez, dir of LA LUCHA DE LUCÍA (2026). Recorded on June 9th at Spring Studios, we talk about their incredible films; the challenges of writing different types of characters; what BACKROOMS (2026) and OBSESSION (2025) mean for independent filmmakers; and more. In this episode, we talk about:
Lily's Indie Film Highlight: CAITY (2026), dir. by Lindsay Calleran Maria's Indie Film Highlight: DADDY'S LITTLE MEATBALL (2026), dir. by Yael Grunseit Links: Follow Soonest Mended Productions, Lily's Production Company, On Instagram | |||
| Special Tribeca Podcast: David Clancy, dir. of NIO KO BOKK (THIS BELONGS TO ALL OF US) | 22 Jun 2026 | 00:20:15 | |
If you're going to make a film about surfing in Senegal, I assume the viewer expects beautiful shots of surfing and the landscape of Dakar, Senegal's capital city. And man, does my guest, filmmaker and director, David Clancy, of NIO KO BOKK or THIS BELONGS TO ALL OF US (2026) deliver. The film is a valentine to so many things: refugees, Senegal, surfing, and documentary filmmaking itself. David's story of creating the film relies so much on his exciting background, and it was a such a joy to hear about it from his spot now in the Canary Islands. In this episode, David and I talk about:
David's Indie Filmmaker Highlight: Jigar Ganatra Links: | |||
| Indie Film Highlight: STRAIGHT TO HELL (1987) | 21 Jun 2026 | 00:01:45 | |
Watch STRAIGHT TO HELL On Criterion Channel Every Sunday, I'll post a quick video -- and podcast -- about an indie film from at least a year ago. Today's film: STRAIGHT TO HELL (1987) Director: Alex Cox Writers: Dick Rude; Alex Cox Stars: Joe Strummer; Dick Rude; Courtney Love SYNOPSIS Three bank robbers (Sy Richardson, Joe Strummer, Dick Rude) and a pregnant woman tear up a desert town. | |||
| Special Tribeca Podcast: Elisee Junior St. Preux, dir. of THE TROPIC SUN AND HIS EYES (2026) | 19 Jun 2026 | 00:16:11 | |
What a last month or so for Haiti and director Elisee Junior St. Preux's debut feature. Upon its release at the Tribeca Film Festival, THE TROPIC SUN AND HIS EYES (2026) received the Special Jury Mention for Best New Narrative Director alongside rave reviews. It is truly stunning filmmaking, offering both a realistic glimpse of Haiti and an expansive view of fatherhood. Let's count the ways in which his month just aligns perfectly for this film: Haiti playing Brazil in its second World Cup today (there's special screenings of this film in Atlanta); Father's Day in the United States; and all of the plaudits received at its world premiere at Tribeca. We only get more Haitian film directors at top festivals if people like Elisee care about elevating other voices, and he does that, too. Have a month, Elisee; I'm here for it. In this conversation, Elisee and I discuss:
Elisee's Indie Film Highlights: MY FATHER'S SHADOW (2025) dir. by Akinola Davies, Jr; I LOVE BOOSTERS (2026) dir. by Boots Riley Links: | |||
| Special Tribeca Podcast: Hannah Peterson, dir. of VIA NEGATIVA (2026) | 18 Jun 2026 | 00:16:28 | |
VIA NEGATIVA resonated with me on so many different levels -- as a Catholic; as someone who uses firearms; as a veteran (there's a moment in there, if you've seen it); and most importantly, a lover of truly astonishing filmmaking. Director Hannah Peterson achieved something extraordinary with this film by bringing a novel to life in the best possible way and making you think of life's grand questions without pandering. The film's log line: "It follows the story of Father Dan who goes on a mythic road trip with a wounded coyote, a loaded pistol, and a mission to avenge his best friend." If there's justice in this world, this film will be up for numerous awards come that season, but as VIA NEGATIVA shows us, that concept is something that's hard to find. This is brilliant filmmaking and I am so excited to follow Hannah's journey and the roll-out of this film. After hearing this episode, I hope you are, too. In this episode, Hannah and I talk about:
Hannah's Indie Film Highlight: Antigravity Academy Links: | |||
| Special Tribeca Podcast: Shan Jiang 姜姗, dir. of EPHEMERA (2026) | 16 Jun 2026 | 00:20:56 | |
It's one thing to say you're going to create the "Chinese lesbian version of BEFORE SUNRISE (1995)"; it's another thing to actually pull it off. In EPHEMERA (2026), the debut feature for filmmaker Shan Jiang which premiered at the 2026 Tribeca Film Festival, it appears she has done just that. It took global producers, a fantastic team, and a truly extraordinary story in how she found the actors, but the film will stand as wide shoulders for so many people and so many future projects. In this episode, we talk about:
Shan Jiang's Indie Filmmaker Highlight: Celine Sciamma; Peter Greenway Links: | |||
| Special Tribeca Podcast: Meriem Sakrouhi, dir. of MON TAXI (2026) | 15 Jun 2026 | 00:13:57 | |
MON TAXI (2026), which premiered at the 2026 Tribeca Film Festival, is a "love letter to the filmmaker's dad." Architect + filmmaker Meriem Sakrouhi created a film that is part New York, part Moroccan, and altogether touching cinema, and we talk about how she did it for the podcast. Along with directing, she edited and produced the first Moroccan entry at Tribeca in 20 years. Given that she pitched a project at Cannes Docs this year and beautifully describes what Moroccan influence looks like, we shouldn't have to wait that long for another. In this episode, Meriem and I discuss: why Tribeca for this particular film; growing up in Morocco and how she got involved in filmmaking; how architecture informs her filmmaking; how she describes MON TAXI and what she wants viewers to feel -- "the film is about communication about my dad after he passed"; editing, producing, shooting the film -- how did she make it all work? what is the Moroccan influence on the film? what's next for her and what she pitched at Cannes Docs. Meriem's Indie Film Highlight: BOUCHRA (2025) dir. by Orian Barki; Meriem Bennani Links: | |||
| Indie Film Highlight: LURKER (2025) | 14 Jun 2026 | 00:01:27 | |
Every Sunday, I'll post a quick video -- and podcast -- about an indie film from at least a year ago. Today's film: LURKER (2025) Director: Alex Russell Writer: Alex Russell Stars: Théodore Pellerin; Archie Madekwe; Havana Rose Liu; SYNOPSIS A retail employee infiltrates the inner circle of an artist on the verge of stardom. As he gets closer to the budding music star, access and proximity become a matter of life and death. | |||
| Special Tribeca Podcast: Rob Rice, dir. of PONDEROSA (2026) | 12 Jun 2026 | 00:17:41 | |
The career path -- M.S. in Neuroscience to filmmaking -- is a wholly original one and so is his filmmaking. His second feature, PONDEROSA (2026), is a comedy-horror film that looks at American masculinity in a way I've never seen before. It is a gift to watch -- beginning to end -- not because I understood everything going on, but because I didn't. The best type of filmmaking should challenge you and make you think differently about the world around you. Mission accomplished here by Rob, with brilliant actors by his side. I'm texting my friend with a neuroscience degree, telling him to get on over to Tribeca and make a film! In this episode, Rob and I talk about:
Rob's Indie Film Highlight: THE MISCONCEIVED (2026) dir. by James N. Kienitz Wilkins Links: | |||
| Special Tribeca Podcast: Lyle Lindgren, dir. of MOUTH FULL OF GOLDS (2026) | 10 Jun 2026 | 00:27:08 | |
Very rarely, you'll watch a documentary, and think...how did he get that all on film? That was the case for me and the film MOUTH FULL OF GOLDS (2026) premiering this week at the Tribeca Film Festival. It's about "grillz" -- the teeth attachments/implants and their cultural connection in New York City, Miami, Atlanta, and Paris. If that description sounds incredible, that's because the film is incredible. Director Lyle Lindgren joins for me the pod and traces his history from car salesman to his first film festival here in New York City. Grillz or not, you'll want to be on this ride. In this episode, Lyle and I talk about:
Indie Artist Highlight: Pouria Khojastehpay Links: | |||
| Special Tribeca Podcast: Branislav Jankic dir. of WHITE BELT (2026) | 09 Jun 2026 | 00:13:57 | |
The journey from Yugoslavia to New York City is a wild one, and filmmaker Branislav Jankic has been a keen observer along the way. Coming off a debut feature that was released at the height of COVID, Branislav is now at the 2026 Tribeca Film Festival with a story about his wife called WHITE BELT (2026). The film traces the journey of supermodel Monika "Jac" Jagaciak from the runway to Brazilian Jiu-Jitsu (BJJ). It's a tight, accomplished film that shows what he's learned about the process, and it was so cool for him to explain how he made such an exciting and personal film. In this episode, Branislav and I discuss:
Links: | |||
| Indie Film Highlight: OUT OF LOVE (2025) | 07 Jun 2026 | 00:01:37 | |
Every Sunday, I'll post a quick video -- and podcast -- about an indie film from at least a year ago. Today's film: OUT OF LOVE (2025) Director: Nathan Ambrosioni Writer: Nathan Ambrosioni Stars: Camille Cottin; Monia Chokri; Juliette Armanet SYNOPSIS A woman is forced to take care of her niece and nephew after their mother voluntarily disappears. | |||
| Special Cannes Podcast: Anna Berthollet of Lightdox | 04 Jun 2026 | 00:20:15 | |
The podcast concludes this unreal Cannes Film Festival series with Lightdox founder and CEO, Anne Berthollet. Lightdox has consistently championed stunning documentaries, like GABIN (2026); FLOPHOUSE (2025) and so much more. How is the company able to find such amazing documentaries? What happens when Lightdox grows -- will they be able to maintain their quality offerings? And what is her advice for aspiring documentarians? See you next year, Cannes! In this episode, Anna and I discuss:
Links: | |||
| Special Cannes Podcast: Nguyễn Phan Linh Đan | 03 Jun 2026 | 00:14:48 | |
I'd argue the Pierre Angénieux Tribute is the best thing going at the Cannes Film Festival. Why? Two reasons: they elevate one filmmaker -- this year, it was Japanese cinematographer Akiko Ashizawa -- by way of tribute. If you haven't seen her work, now is your opportunity. But they don't stop there. they utilize the platform of that tribute to give a "special encouragement" to a young cinematographer. This year, it was my guest, Nguyễn Phan Linh Đan, who combines Vietnamese and French cultures to offer a new and fresh perspective on storytelling. Listen to both conversations and tell me this isn't truly amazing what Angénieux is doing at Cannes. May there be 100 more companies that follow their lead. In this episode, we talk about:
Indie Film Highlight: Akiko Ashizawa Links: | |||
| Special Cannes Podcast: Akiko Ashizawa 芦澤 明子 | 02 Jun 2026 | 00:21:29 | |
What an incredible honor to be joined by famed cinematographer Akiko Ashizawa, who was honored at the Cannes Film Festival with the 2026 Pierre Angénieux Tribute. We talk about her career, how she thought the tribute was spam!, females in cinematography, and more. The episode is recorded thanks to a translator. In this episode, Akiko and I discuss:
Akiko's Indie Filmmaker Highlight: Shuichi Okita 沖田 修 Links: | |||
| Special Cannes Episode: Michael Hampden of Sandbox VR | 01 Jun 2026 | 00:15:07 | |
We've seen the future of indie filmmaking the last few weeks with the theatrical runs of OBSESSION (2025) and BACKROOMS (2026). Let me argue that sometime in the future, we'll see a Sandbox VR or immersive experience film have that kind of launch. In this Cannes episode, I talk with senior vice president of content for Sandbox VR about what the future looks like for VR + immersive experience films. Given how many locations they already have, I'm confident Sandbox -- and Michael Hampden -- will be a part of it. In this episode, Michael and I talk about:
Link: | |||