Tobias Rud discusses animating the dangers of romantic compromise in his film about a woman's desperate attempts to satisfy her partner's unusual desires.
Robin Summons details the in-depth domestic abuse research and technical camera work which empathically frame's the victim's perspective in 'Occupation'.
Stanley Xu discusses using metafiction to play with genre and representation in his portrayal of the different ways we can remember past relationships.
Zhenia Kazankina explains how deadpan framing and cast relationships formed in rehearsals allowed for an oddball take on the coming-of-age genre in 'Rio'.
We talk to Eli Powers about using intimate handheld frames, moody guitar licks & layered performances to create an affecting portrait of grief in 'Fish'.
Andrew Wonder & Colleen Dodge discuss the slow motion, modified camera lenses & attention to detail of their celebration of a uniquely American tradition.
Matthew Wade tells DN why he wanted to embrace the natural disintegration of his images for memorising animated sci-fi trip 'Eyes at the Specter Glass'.
Folkert Verdoorn breaks down the rhythmic editing structure he utilised to convey a popstar's bizarre pre-show ritual process for comedy 'The Performer'.
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