Fraser Scott describes how he worked with actor Michael Ahomka-Lindsay to create the tender central performance of his monologue drama short 'Fart Car'.
Zillah Bowes discusses working with non-professionals, creating panoramas & getting inside her character's head in Welsh countryside-set drama 'Staying'.
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.
Christopher Hanany talks to DN about the benefits he found in trusting his performers and embracing their spontaneity for spiritual dance short 'The Way'.
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'.
Aiden Ulrich reveals the creative insight he gained while capturing a prolific artist at-work for insightful profile documentary 'Frank Ockenfels III'.
Andrew Wonder & Colleen Dodge discuss the slow motion, modified camera lenses & attention to detail of their celebration of a uniquely American tradition.
Ewurakua Dawson-Amoah explains how she channelled her frustration with the surface level activism of the BLM movement into her visual poem 'Gold Token'.
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