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:how to prevent spoilers for a film with a big twist and the process of writing it;how he got into filmmaking through editing -- and New Orleans;what was the best way to stay in touch with a team as he moved from different projects seven years apart;how he stuck with this film even when producers wanted to put in other directors;are producers that blunt about taking a writer off their project?why Raindance and the social media plan for the film;thoughts on release strategy after a viral YouTube hit;the stereotypes of New Orleans;turning tropes on their head in a film and using misdirection;what the reaction to his film has been.Daniel's Indie Film Highlight: FALCON LAKE (2022) dir. by Charlotte Le BonMemorable 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

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:what it was like seeing HAND in a theater -- props to the Cleveland International Film Festival;his journey from Taiwan to filmmaking;what he means by finding the balance between Eastern and Western cinema;if he feels HAND connects the two and how he describes the film;the run time of 23 minutes;casting middle aged people as a young filmmaker;the benefits of making a short film for his team;what's next for him and what does being a Taiwanese-American filmmaker mean to him.Benny's Indie Film Highlight: WE WERE HERE (2026) dir. by Pranav BhasinLinks:Follow Benny On Instagram

Watch This Episode On YouTubeHappy 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:do Irish people want to hang around other Irish people at film festivals?!;his start in filmmaking;how his brand work (after we recorded this, his ad won a Grand Prix at Cannes Lions 2026) influences his filmmaking;THE SIEGE OF PARADISE;if he knew going in he would take such a balanced approach to the relationship between tourism and locals;if he screened the film for its subjects;what a documentary filmmaker owes his subjects;the absolute stunning shots in this film and where they came from (no drone footage!);what does Screen Ireland do right that other countries could follow (other than more funding);how he knows it's going to be a good festival experience -- or not;what's next for him.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:Follow Gar On InstagramWatch THE PUB THAT REFUSED TO DIE Second Anniversary Pod: Nathaniel Lezra

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 LeeStory by: Chester BrownStars: Emily Lê; Andrea Werhun; Dan BeirneSYNOPSISWhen 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.Subscribe to our YouTube channelFollow us on LetterboxdFollow us on InstagramFollow us on XFollow us on FacebookFollow us on TikTokFollow us on LinkedIn

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:how she got involved in film and became deputy director of Explore Minnesota Film;why Explore Minnesota Film transferred from a nonprofit to its current incarnation and what that means for other state film organizations;the pitch for filming in Minnesota;what might surprise you about filming in Minnesota;the 30 year anniversary of FARGO (1996), which was filmed in Minnesota;the biggest challenges facing Minnesota's fim commission right now;what festivals and project markets stand out for her;the wide range of incentives available to you in Minnesota;the 10,000 Stories Fund;what she hopes she can talk about regarding Explore Minnesota Film in the future.Nell's Indie Film/Filmmaker Highlight: ISH MEETS A MERMAID (2025), dir. by Jonathan Thunder; Abby HarriMemorable 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 InstagramExplore Minnesota Film WebsiteThe 10,000 Stories Fund

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:the combination of a birthday, Tribeca premiere, and Father's Day when your debut feature is fictionalized version of your relationship with your father;how much real life influenced the final film;how she got into filmmaking;the unique touches of cinematography in this film;the incredible actors playing Caity and her father in this film, and somehow finding the chemistry between them;if casting directors are underrated in indie films;the EP/producer relationships for this film and the unique grant that made this film happen;why we don't see more films like this in festivals and theaters;what's next for her.Lindsay's Indie Film Highlight: LONG'S LONG LOST & MINI MART (2025) dir. by Julian DoanLinks:Follow Lindsay On Instagram

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:the creation stories of LA LUCHA DE LUCIA and RARE BIRDS;casting for the films and the role of social media;how she was able to achieve such well-drawn out characters in RARE BIRDS and her advice for other filmmakers;the challenges of writing both males and female characters;what does a bad short film look like?why Tribeca for their films?what to do with their films now after a premiere at Tribeca (shout out to NoBudge!);BACKROOMS and OBSESSION -- what does that mean for independent filmmakers?how her experience as a director helps her as an actor;what's next for them.Lily's Indie Film Highlight: CAITY (2026), dir. by Lindsay CalleranMaria's Indie Film Highlight: DADDY'S LITTLE MEATBALL (2026), dir. by Yael GrunseitLinks:Follow Maria On InstagramFollow Soonest Mended Productions, Lily's Production Company, On InstagramFollow LA LUCHA DE LUCÍA On InstagramMODERN SILENT SHORTS (Check out the tour this summer!)

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:why is he now in the Canary Islands and his wild career story;how did this film come into existence;when do documentaries require great cinematography?his path focusing on social impact films and whether that's repeatable for other documentary filmmakers;the requirements for social media as a documentary filmmaker and his advice to getting started;the prism of surfing and refugees for THIS BELONGS TO ALL OF US;the logistical challenges of making a surfing film;why Tribeca?;how do we see more films like this in theaters;what's next for him.David's Indie Filmmaker Highlight: Jigar GanatraLinks:Follow David On InstagramFollow David On YouTube

Watch This Episode On YouTubeWatch STRAIGHT TO HELL On Criterion ChannelEvery 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 CoxWriters: Dick Rude; Alex CoxStars: Joe Strummer; Dick Rude; Courtney LoveSYNOPSISThree bank robbers (Sy Richardson, Joe Strummer, Dick Rude) and a pregnant woman tear up a desert town.Subscribe to our YouTube channelFollow us on LetterboxdFollow us on InstagramFollow us on XFollow us on FacebookFollow us on TikTokFollow us on LinkedIn

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:the vibe of the film and how he made Haiti essentially a character in the film;why the topic of fatherhood for his first feature;his emphasis on shooting in Haiti and the challenge of others trying to take away his deeply personal story;the creation of what is now SOIL Pictures and how he focuses on uplifting Black voices;"labs are very specific about what they want to get across" -- such important advice about going into a lab or a fellowship;why Tribeca?what's next for this electric filmmaker.Elisee's Indie Film Highlights: MY FATHER'S SHADOW (2025) dir. by Akinola Davies, Jr; I LOVE BOOSTERS (2026) dir. by Boots RileyLinks:Follow Elisee On InstagramElisee's Website