Five Questions With... Sarah Colt & Josh Gleason (TRUE BELIEVER)

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TRUE BELIEVER is the story of Arkansas pastor Robb Ryerse, one of the only evangelical Christians who spoke out against Trump’s rhetoric of hate.

Take a look at our Five Questions With… directors Sarah Colt and Josh Gleason, and see the film in the “Characters Welcome” block of documentary shorts on Sat, June 22 at 9:30am!

NFF: Please say a little about your inspiration for, or how you found the subject of your film.

SARAH & JOSH: In the days following Trump’s victory, we wanted to tell a story about the surge of political newcomers running for office. There was no shortage of amateur candidates running on the Democratic side, but we wanted to focus on a campaign that transcended party and drew attention to the process itself. That was how we found US congressional candidate Robb Ryerse, a progressive evangelical Republican who pastors a church in Fayetteville, Arkansas. What initially struck us about Robb was that, unlikely the majority of evangelical Christians, his ministry focused on love and social justice issues.

Robb started his grassroots campaign with the support of Brand New Congress, an upstart political action committee that recruits non-politicians to run for office. One of Robb’s fellow recruits for the 2018 midterms was Alexandria Ocasio-Cortez. 

 NFF: You’re in the documentary block. How do you balance entertainment value with a factual accounting of events?

SARAH & JOSH: We come from a background in journalism, so the facts take precedence. We are always mindful of our ethical obligation to depict our subjects fairly. But entertainment value is an important consideration, and we tend to gravitate towards stories that we believe will have a beginning, middle, and end. Following principal photography, we typically sketch out a dramatic narrative structure that will guide us in shaping the footage. The goal is to create an emotional experience for the viewer, not just an intellectual one. After all, if the story doesn’t capture the attention of audiences, then its message obviously won’t spread very far. 

To make sure that the film hasn’t drifted away from the facts during the editing process, we rigorously fact-check prior to completion. With a véritéfilm like TRUE BELIEVER, we screened a fine cut for the protagonist, Robb Ryerse, and gave him the opportunity to tell us if there was anything he considered inaccurate or misconstrued. We always maintain editorial independence, but it’s important to us that our subjects feel they have been portrayed accurately.   

 NFF: What do you find the biggest advantages and challenges of making a short as opposed to a feature?

SARAH & JOSH: Since most stories don’t rise to the level of a feature, the short form opens the doors to all kinds of enlightening, artful, and socially urgent stories that wouldn’t otherwise be told. It’s been inspiring to see how the form has given filmmakers the confidence to take more creative risks. It was never our expectation that True Believer would turn into a feature. Knowing that there is an audience for shorts took some pressure off, and gave us the confidence to pursue the story. 

The short form pushes you to be economical and precise with your editorial choices. True Believerwas edited from over 70 hours of footage, so it took some time to compactly layer a rich, compelling story. It really is like a literary short story in that every detail serves the storytelling in some way. If a scene or a piece of dialog wasn’t playing a well-defined role, then there really wasn’t room for it. 

 NFF: What are you working on currently, and/or where can we see more of your work?

SARAH & JOSH: We’re currently in post production on an vérité feature documentary that we’re very excited about. The working title is PROMISED LAND. It interweaves the personal stories of a factory worker in Ohio, a fifth-generation Kansas farmer, and an Uber driver in Florida. For years, their hard work paid off, but corporate consolidation and the erosion of union wages force drastic changes. We’ve had exceptional access to their personal and professional lives and have watched as all three made dramatic life choices in response to changing economic realities. The result is a kaleidoscopic portrait of a middle-class on the edge—and a time capsule of this moment in American history. We plan to release the film in early 2020 and hope to show it at Nantucket next summer! To stay up to date on the latest news about the film, follow our Facebook page.

 NFF: Why are you excited to screen in Nantucket, and/or what do you hope Nantucket audiences might relate to or take away from the film?

SARAH & JOSH: We are honored to have the east coast premiere of TRUE BELIEVER at such an esteemed festival, with such a deep commitment to meaningful storytelling. We look forward to providing Nantucket audiences with a window into a part of the country, and a type of Christian, that they may not be familiar with. We hope that the film’s portrayal of an idealistic effort to create political change, no matter the odds, is inspirational. 

Five Questions With... Lilian Mehrel & Mary Evangelista (WATER MELTS)

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WATER MELTS is a blue-hearted rom-com about people who are going to lose someone they love. Nobody knows what to say, so they bicker, laugh/cry, and get married. It's a romantic comedy, after all.

This virtual reality experience is available in our Legacy Lounge in the Harborview Room - take a look at the teaser below, as well as our filmmaker Q&A, and try it out for yourself this week!

NFF: Please say a little about your inspiration for the film.

LILIAN & MARY: Each of us co-creators were handed similar cards - the person we love most was given a terminal diagnosis. We came together and realized the story we had to create: a story that didn't exist yet. A story about the struggle to enjoy the moment with your loved one when you have been told you will lose them. It's almost impossible to be light under urgent dark clouds, but we knew what it felt like to live for the smallest of golden moments. And how the most absurd comedic moments burst forth from these tightly wound circumstances. And how it's about love.

NFF: Why do you enjoy working in VR to express your vision?

LILIAN & MARY: We are storytellers first, but we love the challenge of telling a story in this medium. When the entire space is our canvas, how do we imbue scenes with feeling? WATER MELTS is unique in the 360 realm as a narrative-driven cinematic piece. It also stands out in its play with genre: a blue-hearted rom-com.

We embraced a minimalist naturalism with long takes (the way it might feel to be sitting near a couple on the beach, eavesdropping on their argument) -the dreamy theatrics of life. We wanted the audience to have breathing room to look around and take in the vastness of the beach, to choose to watch the characters or let their conversation wash over you as you follow an animation. The blank canvas beach environment allowed any Fellini-esque absurdity to stand out in contrast.

We also enjoyed playing with cinematic touches in editing, like creating a slow-motion 360 montage.

It also brings an old-school element to the new medium in a fresh way. We overlay classic hand-painted animation (created by Emmy-award-winning artist Maya Edelman) on the 3-dimensional live-action footage. The real and the unreal co-existing in this surreal emotional landscape - the way humor and heartbreak can live together too.

NFF: What do you find the biggest advantages and challenges of making a film in this way, vs. "traditional" filmmaking?

LILIAN & MARY: The biggest advantage is the minimalism, which forces us to sharpen our storytelling skills. Also by allowing us to give audiences a life-like experience, we were able to let the real (live-action) and the unreal (animation) co-exist in a surreal emotional landscape - the way humor and heartbreak can live together too. So we overlaid old-school hand-painted animation (created by Emmy-award-winning Broad City artist Maya Edelman) on the 3-dimensional live-action footage.

The biggest disadvantage is the difficulty in sharing the final work with wide audiences.

NFF: What are you working on currently, and/or where can we see more of your work?

LILIAN & MARY: We’re working on a new romantic-comedy-with-an-edge series. More about our work at www.lilianmehrel.com and www.maryevangelista.com.

NFF: Why are you excited to screen in Nantucket, and/or what do you hope Nantucket audiences might relate to or takeaway from the film?

LILIAN & MARY: We love the emphasis on screenwriting at Nantucket, and hope audiences will connect to our storytelling first and foremost. We also hope that those who see themselves in our characters and circumstances will feel seen. We would love to engage with audiences and invite anyone to share impressions with us - hashtag #WaterMelts and feel free to message us on Instagram (@lilianfilm @maryelista) - thank you!

Five Questions With... Jim Picariello (PASSIVE AGGRESSIVE DADS)

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In PASSIVE AGGRESSIVE DADS, two middle-aged dads want to spend a quiet day with their daughters at the park. When a group of teens drive by too fast and too loud, it spurs them into a self-righteous act.

Take a look at our video chat with Writer/Director Jim Picariello, and catch the film on Saturday, June 22 at 4:15pm!

Five Questions With... Tyler Nilson & Michael Schwartz (THE PEANUT BUTTER FALCON)

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In Spotlight Film THE PEANUT BUTTER FALCON, Zak runs away from his care home and teams with fugitive Tyler to go on the adventure of a lifetime. Featuring Shia LaBeouf, Dakota Johnson, Zack Gottsagen, John Hawkes, Bruce Dern, and Thomas Haden Church.

We spoke to writers/directors Tyler Nilson & Michael Schwartz. Read more with them below, and see the film on Sat, June 22 at 7:30pm and Sun, June 23 at 2:45pm!

Note: Young Film Lovers between the ages of 18-30 can see this film for just $10 with code NFFYFL30 online or at the box office!

NFF: Can you talk a little bit about your inspiration for the film?

TYLER & MICHAEL: We wrote THE PEANUT BUTTER FALCON  after a heartfelt conversation with our friend Zack.  He’s a born entertainer and had been studying acting and dance most of his life when he told us that he wanted to be a movie star.  We replied honestly that there weren’t a lot of opportunities or roles written for people with Down syndrome to star in movies and he asked, “Then why don’t you write one for me?”  

NFF: What was the casting process like, and where did you find Zack? When did you know he would be your star?

TYLER & MICHAEL: The role was written specifically for Zack, we spent a lot of time together talking about life, movies, adventure, and what he likes and doesn’t like.  A lot of the dialogue in the movie are things that he’d said to us in conversation.

Our biggest challenge wasn’t casting Zack it was keeping him in the role.  Before we landed with producers that "got it" at Bona Fide and Armory we had offers to finance the movie but only if we’d cast a known actor without a disability playing disabled.  

The rest of the cast that filled out with perfect fits.  I’m so proud of the performances given by Shia LaBeouf, Dakota Johnson, Bruce Dern, John Hawkes, Thomas Haden Church, and Jon Bernthal.  Legendary wrestlers Jake “The Snake” Roberts and Mick Foley were amazing to have on set and they added depth and authenticity as well.

NFF: There's both a "buddy comedy" and "road trip" vibe to the film, although this is a uniquely original take...were you inspired by other films in those genres?

TYLER & MICHAEL: There’s a lot of movies that we love and every day we break down films and talk about what types of elements work well to make audiences feel certain ways, connect to characters, and trigger emotions.  Tonally we were influenced by HUCK FINN, STAND BY ME, MUD, etc.

NFF: What are you working on currently, and/or where can we see more of your work?

TYLER & MICHAEL: First and foremost we’re staying as present as possible with THE PEANUT BUTTER FALCON.  We want to support the movie every way we can so audiences go see the work our whole team put from producers, to actors, and crew. 

Beyond that we have a TV show that we’re developing with LuckyChap based on our experience living in an illegal tree house surrounded by raccoons and mountain lions in Los Angeles (Money was tight right before we left to shoot THE PEANUT BUTTER FALCON) and a feature that we’re keeping under the radar for the time being.

NFF: Why are you excited to screen in Nantucket, and/or what do you hope Nantucket audiences might relate to or takeaway from the film?

TYLER & MICHAEL: Everything that we’ve heard about Nantucket has been extremely positive.  We’ve always wanted to go to the island and the reputation of the festival is that a lot of the focus is on writing which is such an important part of the process and often overlooked. 


With any movie the goal is for the audience to connect, feel something, maybe identify with a character, and have an authentic experience.  When we premiered at SXSW the reactions exceeded expectations and the film took home the audience award.  In Nantucket we hope the audience is taken in by the mix of hope, heart, and drama as well in a way that might make their day, week, or life just a little bit better.



Five Questions With... Gregory Bernstein & Sara Bernstein (OFFICIAL SECRETS)

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In Spotlight Film OFFICIAL SECRETS, a British intelligence officer risks everything to become a whistleblower after she learns of a plot to blackmail the UN Security Council to support the 2003 invasion of Iraq. Featuring Keira Knightley, Matt Smith, Matthew Goode, Rhys Ifans, and Ralph Fiennes.

We spoke to co-writers Gregory Bernstein and Sara Bernstein about their film. Read more, and catch it on Saturday, June 22 at 2:30pm and Sunday, June 23 at 9:30am!

NFF: Can you talk a little about how you found this story, and why you wanted to adapt it?

GREGORY & SARA: We were having lunch in LA with friends who were passing through town, journalist Marcia Mitchell and her late husband, Tom, who was a former FBI agent. The two of them wrote nonfiction espionage-related books together, and they mentioned that they had just come back from the UK, where they’d managed to coax an interview out of a very private young translator for a British intelligence agency -- and proceeded to tell us Katharine Gun’s incredible story.

Marcia and Tom had healthy debates about whistleblowing; so do Gregory and I. But all four of us have complete respect for the purity of Katharine’s motivations. She acted on instinct, and out of a sense of conscience. For writers, it’s rich material, and a subject matter that we hope the public will debate. What is a citizen supposed to do when their government is lying on a massive and consequential scale?

And, of course, we liked the David and Goliath element.

NFF: What's your writing process like as a team?

GREGORY & SARA: We started writing together in film school before we even started dating, so it’s a pretty seamless process by now. What works best for us is that one of us will take the lead, and write the first draft. We outline together, and write drafts 2-1000 together.

NFF: How involved was Katharine Gun in the making of the film? 

GREGORY & SARA: Katharine was really generous with her time and advice with all of us – the book authors, the screenwriters, the director, and the actors.

NFF: What are you working on currently, and/or where can we see more of your work?

GREGORY & SARA: We’re heavy into research and outlining on a couple of different stories – a comedy, a limited series about the murder of Jane Stanford (the founder of Stanford University), and we have a WWII romance/spy story on the back burner. We’ll see what takes shape first. It’s a friendly race to see who gets to be the lead on our next project.

NFF: Why are you excited to screen in Nantucket, and/or what do you hope Nantucket audiences might relate to or takeaway from the film?

GREGORY & SARA: We’ve always heard that Nantucket, like Austin, is a writers’ festival, and so have always wanted to come. As far as audience takeaways, we just hope that our film will spark discussions, not about the Iraq War, but about the best way to act ethically in an unethical environment. There’s a lot to discuss.

Five Questions With... Brittany Snow (MILKSHAKE)

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In MILKSHAKE, Natalie only wants her mother's approval. Her mother wants a big and different future for them both.

Listen to Writer/Director Brittany Snow talk about the film, playing in the "What I'm Looking For" block of short films on Sunday, June 23 at 11:30am!

Fun fact: you can also see Brittany as a presenter at our Screenwriters Tribute on Saturday at 6:30pm!

Five Questions With... Matt Kay (LITTLE MISS SUMO)

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In LITTLE MISS SUMO, female sumo wrestling champion Hiyori confronts obstacles both inside and outside the ring in an attempt to change Japan's national sport forever.

We spoke to director Matt Kay about the film - check it out, and see the film at Nantucket Film Festival on Thurs, June 20 at 9am!

Five Questions With... Sameh Zoabi (TEL AVIV ON FIRE)

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In this irreverent satire, a middle-aged slacker fails upwards in his job on the set of a popular Palestinian soap opera only to end up fielding script notes from a disgruntled Israeli military officer. Winner: 2016 NFF Showtime Tony Cox Feature Screenplay Competition.

We spoke to Writer/Director Sameh Zoabi about TEL AVIV ON FIRE. Read more below, and see it on Thurs, June 20 at 6:00pm and Sun, June 23 at 5:30pm!

NFF: Can you talk a little bit about your inspiration for the screenplay?

SAMEH: I was inspired by the reaction to my work both films and scripts - as a Palestinian filmmaker who also hold an Israeli citizenship I feel that people always read closely  into the politics of my work, there is always an interpretation that swings between the two sides.  People question both the Israeli side of the story and the Palestinian, it always feels like it is a test and I have to pass both sides somehow to survive as a filmmaker.  It’s an interesting dilemma that I find myself trapped with each time I want to make a movie… this feeling was the beginning of inspiration of TEL AVIV ON FIRE. Salam, the main character,  is a Palestinian young man that works on finding his voice as a writer on a soap opera, he is trapped between the Israeli Officers at the checkpoint and the Arab producers. He tries to please each one by giving them an end to the show that both agree with. This is for me the core of the  film, and the tone of using comedy was inspired by upbringing—humor is an essential mechanism for my people to deal with the harsh daily reality of experiencing injustice. 

NFF: You're returning to Nantucket, having been a previous Tony Cox Screenplay winner. How has the script changed since then, and/or how was that process helpful to you?

SAMEH: The Tony Cox screenplay award and then later the same year I stayed at the writer’s colony, all of this in fact lead me to the draft in which I was able to raise funding for the film.  Our first funding came a few months after the colony and working with advisors on the script.  However, given the nature of co-production with Europe, we had to go through a set of many rewrites before shooting, as the script was translated into different languages and cultures news ideas were born as a result until almost a week before shooting.  At a certain moment the script and the process started to feel similar to the film’s central dilemma-- in a good way.

NFF: Did you grow up watching soaps? How did you decide on that genre as your entry point?

SAMEH: Soap operas are a big deal in the Middle East. People watch them and are fully taken by them as well. What I find interesting is that the people who watch soaps find the acting and straightforward dialogue more realistic than the subtle acting and dialogue of feature films. The soap opera medium allowed me to explore things that I may never be able to do otherwise in cinema. For instance, the opening scene of the film, which I find quite political. The characters say very direct things, without filters, but because this scene takes place inside the movie as part of a soap opera, it provides comic relief.

When I was growing up inside Israel, disconnected from the Arab world, there were only two TV channels. The Arabic-language shows were mostly from Egypt. They had the best soap opera series, particularly in the month of Ramadan. The show I created in my film is an homage to one famous show I grew up with. Nowadays, the reality has changed. There are hundreds of Arab TV channels and many shows from Syria, Lebanon, Egypt, and even dubbed ones from Turkey and India. Recently, I was watching a soap with my mom. I was laughing at an emotional moment because of its over-dramatized acting and camera work, but my mom was holding a tissue, crying. This experience inspired me when writing and directing the film.  

 NFF: What are you working on currently, and/or where can we see more of your work?

SAMEH: Since I am based in the US for some time now, I feel after TEL AVIV ON FIRE I am ready for a new adventure to make a film in the US. I am in the process of developing a feature and a TV show. That said, I will still be working on films in the Middle East. I am in the process of financing a comedy set in Gaza called CATCH THE MOON.  Rebecca O’Brien from Sixteen Films in the UK is the lead producer working with my partners on TEL AVIV ON FIRE.   My previous work should be available on streaming services, except for my first feature MAN WITHOUT A CELL PHONE (2010), which we hope to have available soon.

NFF: Why are you excited to screen in Nantucket, and/or what do you hope Nantucket audiences might relate to or takeaway from the film?

SAMEH: I am indeed excited, it is a special intimate festival with a great audience that I feel will connect with my film. So far the film has been screening in many festivals around the word, winning many audience awards thus far; it is a great feeling in general to know that the audience enjoys the film. After all we make films to share with people.  So for me, coming back to Nantucket after being there with a script before is super special. Believing in an idea that now is reality on the big screen.  The film presents a political discussion over the Israeli-Palestinian conflict in a comedic tone, so I hope that the audience will both laugh (enjoy) but also reflect on the issues discussed in the film. Looking forward to it! 

Five Questions With... George Pelecanos (DC NOIR)

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Based on short stories written by acclaimed author and writer/producer George Pelecanos (HBO's The Deuce, The Wire), this crime anthology follows a diverse cast of characters living and dying on the fringes of society in the nation’s capital.

We spoke with George about DC NOIR, playing on Friday, June 21 at 5pm. Read more below, and see it this week!

NFF: Can you talk a little about the adaptation process, and why/how you wanted to make these stories into film?

GEORGE: I had adapted and produced a short, THE CONFIDENTIAL INFORMANT (directed by Stephen Kinigopoulos), based on one of my short stories and I liked the experience.  I decided to do three more and make it a feature anthology film.  It was my way of initiating film production in DC, a longtime goal of mine.

NFF: What was the decision around directing for the first time? Was it something you've been thinking about for awhile?

GEORGE: If by awhile you mean since childhood, yes.  I have always wanted to direct but I like the indy vibe.  I’ve been working in television for twenty years but I never had the desire to direct episodic TV.  Now that I got my feet wet, I’m going to keep at it.

NFF: DC NOIR has been screened as separate chapters and has a complete film. How do you prefer audiences consume it?

GEORGE: As a complete film.  I made a concession to show it as a chapter one and I don’t think I’ll do that again.  It’s a disservice to the other directors, who all did good work.

NFF: What are you working on currently, and/or where can we see more of your work?

GEORGE: I’m writing and producing the third and final season of my show, The Deuce, for HBO.  It airs in September.  I hope to get started on my next novel sometime soon.

NFF: Why are you excited to screen in Nantucket, and/or what do you hope Nantucket audiences might relate to or takeaway from the film?

GEORGE: I just like the festival.  It’s one of the most enjoyable experiences I’ve had in the business.  It’s well run and it’s just big enough, and it seems to be free of most of the politics you run into on the festival circuit.  I’m hoping someone will adopt me and give me a summer home in the island.