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An estranged family in Puerto Rico tries to reconnect in the aftermath of Hurricane Maria, in the narrative short film PA'LANTE by Writer/Director Kristian Mercado.
Listen as Kristian talks about the film, and see it in the "What I'm Looking For" block of short films on Sunday, June 23 at 11:30am!
In the short animated film ONE SMALL STEP, we meet Meet Luna, a Chinese-American girl who dreams of becoming an astronaut.
Take a look at the video interview with writer/director Bobby Pontillas, and see the heartwarming film in the Kids Shorts block on Saturday, June 22 at 9am!
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.
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!
In Spotlight Film THE SOUND OF SILENCE, a successful "house tuner," who calibrates the sound in people's homes in order to adjust their moods, meets a client with a problem he can't solve. Featuring Peter Sarsgaard, Rashida Jones, and Austin Pendleton.
Read more about the film with writer/director Michael Tyburski, and see it on Sat, June 22 at 11:30am and Sun, June 23 at 12:15pm!
NFF: Can you talk a little about your inspiration for both the script and the visual/aural palette of the film?
MICHAEL: Well, it started with a short film that I made called PALIMPSEST, which I wrote with my friend Ben Nabors. And I think after making the short, we both realized that we wanted to do more with the “house tuner” character, who is introduced in that film. He’s the perfect conduit in which to tell a larger story about sound and the way it influences people. The feature script was really inspired by our collective experiences living in a noisy city. Aurally, I wanted sound to be represented as an ever present, but invisible character on screen too. We used a lot of static frames in the film, and my cinematographer and I played with negative space so that we could leave physical room for this unseen presence that is mostly portrayed sonically. As far as the visual palette, it’s a modern set film, but told from the point-of-view of a character who operates in a slightly dated New York, aesthetically. So we had that spirit in mind while shooting. I suppose I wanted to try my hand at making my own version of a love letter to New York City too. It’s such an inherently cinematic setting, and I have a lot of romantic feelings about the city.
NFF: Did making the film heighten your own sense of sound in your home (and everywhere else)?
MICHAEL: Very much so, yes. I did a lot of research into sound science and noise leading up to production. I’m typically hyper aware of the sounds around me, but making this film certainly escalated my sensitivity. I don’t think it was a conscious decision at the time, but when we were in post-production, I actually moved homes within New York City for the first time in a decade of living here. I moved from an apartment on a pretty busy commercial street, to the much quieter block I currently reside on. And like the main character in the film, my personal office is now literally located in a subterranean room in my home, away from the noise on the ground level. I love silence and appreciate having as much control as I can over the sounds that come into my space.
NFF: How did the collaboration work between your sound mixer, composer, and editor?
MICHAEL: It was designed to work very in-tandem in our case. And it’s an interesting question, because more often on an independent film budget, it’s unfortunately typical for these departments to work separately from one another. But it was really important for me from the beginning to make sure there was a dialogue between everybody. Because sound itself is really its own character in the story, it was necessary to be actively thinking about that unseen element while we were editing picture. Our sound team came into the edit to review early cuts, and even created temp sounds for us so we could use them prior to getting into the actual sound mix. Once we were mixing, our designers were working in parallel with our composer too. I personally think sound design and score are at their best when they can become one and the same.
NFF: What are you working on currently, and/or where can we see more of your work?
MICHAEL: I’m spending a lot of time writing these days. I’ve been dreaming of doing something that takes place in the past, so I’ve been doing a bit of time traveling to long gone eras as of late. As far as where you can see more of my work, a lot of my short films are easily tracked down and available to screen on the old world wide web.
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?
MICHAEL: I'm excited to screen as much as I can while I’m on the island. Presenting work to a live audience in a movie theater is one of my favorite things. So I’m really just looking forward to the opportunity to share a good story that hopefully resonates.
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.
In A TIGER WITH NO STRIPES, playing in our Kids Shorts, a little tiger decides to take a long journey in search of his missing stripes.
Take a look at this video from director Raùl Robin Morales Reyes (and his tiger!), and see the film on Sat, June 22 at 9am!
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!
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!
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!
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