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by Benjamin Duchek
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- Today23 min
Special Cannes Podcast: Alain Furcajg Of RETURN TO BRITTANY
What's it like taking a film that's 70% finished to the Cannes Film Market? Filmmaker Alain Furcajg joins me today to talk about that very question and his insightful, beautiful -- and time-sensitive - documentary RETURN TO BRITTANY, which he is hoping to finish up in the coming year before the story becomes impossible to tell due to the age of the participants.(With a potential guest appearance by Tilda Swinton on a bicycle. We'll never know.)In this episode, we discuss:the story behind RETURN TO BRITTANY and what he's looking for at Cannes;why he's there with a 70% finished documentary and the feedback he's received so far;how he got involved in documentary filmmaking;what is it like pitching this project at the Cannes Market;is it easier to be French here?;his contrary view about European filmmaking and the difficulties in getting projects madeAlain's Indie Filmmaker Highlight: Ruben ÖstlundLinks:Watch The Trailer For RETURN TO BRITTANY Follow Alain On InstagramAF Films Website
- Yesterday11 min
Special Cannes Podcast: 鄒靜 Zou Jing Of A GIRL UNKNOWN (2026)
A GIRL UNKNOWN (2026), which premiered at the Cannes Film Festival, succeeds on multiple levels: as a work of art about the struggle of life and the potential for rebirth; an eye-opening journey of a young girl trying to find her place in the world; a statement about the policies of China without falling into tired stereotypes; and ultimately, as a phenomenal film that challenges the viewer about how we should think of families, parenthood, and relationships.We talked about all of this for this exceptional episode of the podcast.In this episode, we talk about:how she made such a soulful film, through the prism of an ending that could have gone five different directions;why the topic of a young woman looking for her place in the world appeals to her and how this film builds off her award winning short LILI ALONE (2021);breaking away from the typical tropes of a Chinese filmmaker where one is either viewed as a government plant or a revolutionary;her strategy of bringing this film to Cannes;how she hopes to inspire future generations of female filmmakers.Links:Follow Zou Jing On InstagramWatch LILI ALONE (2021) ScreenDaily's Review Of A GIRL UNKNOWN
- 1 weeks ago21 min
Dawood Hilmandi
The word paikar is Persian for "war" or "warrior" and what you're getting from a documentary of the same name is war, of a sort, but layered among so many levels: the war within a family, the war in Afghanistan, the war within the director's own self. This is filmmaking at its highest level, and I'm so thrilled to be joined by director Dawood Hilmandi today to talk about his truly epic directorial debut, which screened at this year's Hot Docs.PAIKAR (2025)'s logline: "an Iranian expat journeys back to his homeland, where he must face his domineering father and grapple with complex emotions about family ties, cultural identity, and his place in the world."I've spent 18 months in Afghanistan and it holds a special place in my heart. Let's celebrate people like Dawood who have given so much to make their art a reality.In this episode, Dawood and I discuss:what his father would think of his film;how he got started in filmmaking;what made him decide to do PAIKAR as his directorial debut;the blend of languages in between Iran and Afghanistan and why the landscape is so important in understanding the film;what people should know before watching the film and how they should feel afterwards;the technical aspects of the film and how he decided how it was going to go -- at least in the beginning;why did he choose the festivals he did for his film;the release date for the film;what's next for him.the state of film in Afghanistan.Dawood's Indie Filmmaker Highlight: Aboozar AminiMemorable Quotes:" He would be grateful or he would feel good that it's not against him. It's more like for him or because of him."" The filmmaking, it has a long history in my family. Even as a child we were not allowed to watch films, so we were forbidden to watch films.""I need to share untold stories."" It's like when once you leave your country is almost like the memory of a home that maybe doesn't exist anymore. So you keep desiring that home. You keep thinking of it."" Just be patient with the emotional moments and with the silences in the film."" I have a different kind of connection to IDFA because I used to go there and watch films, like days nonstop, watching six films a day."" We're starting a new era of Afghan films and new sort of new type of films. Links:Follow Dawood On InstagramPAIKAR Trailer
- 1 weeks ago1 min
Indie Film Highlight: FOUR LETTER WORDS (2000)
Watch This Episode On YouTubeEvery Sunday, I'll post a quick video -- and podcast -- about an indie film from at least a year ago. Today's film: FOUR LETTER WORDS (2000)Director: Catherine BreillatWriter: Sean BakerStars: Henry Beylin; David Ari; Darcy Bledsoe; Fred BermanSYNOPSISA study of the post-adolescent male psyche looks at their views, attitudes, and language.Subscribe to our YouTube channelFollow us on LetterboxdFollow us on InstagramFollow us on XFollow us on FacebookFollow us on TikTokFollow us on LinkedIn
- 1 weeks ago21 min
Vanessa Esteves
The kind of filmmaking that my guest, Vanessa Esteves, does is all encompassing -- job, hobby, passion. And that shows through in her latest work, CHRISTOPHER & THE BUG (2025), a "heartwarming short film about a reclusive owl whose peaceful solitude is disrupted when a tiny bug unknowingly moves into his home."We talk about why we don't see the bug, what college roommate inspired her to write this story -- not in a good way!; animated films and screentime for kids, and more.If all of our films were given the thought and love Vanessa gives her directorial debut, we would be in such a better place.In this episode, Vanessa and I discuss:do we see the bug in CHRISTOPHER & THE BUG?how she got started in filmmaking and why she decided this would be her directorial debut;what is it like producing animated films and if it is an easy jump back to live action;the lessons she's learned from producing films that she brought to CHRISTOPHER;how to tell the story on a run time of 11 minutes!;the challenges of specifically an animated film;why sound design and score were so huge for this film;the idea that animation is just for kids and how it is different in the short film world;how we can improve families and filmmaking;her day job at Boatrocker Studios as a senior director for creative affairs, kids & family, and how she feels about screentime for kids;what it's like being a filmmaker in Toronto and what's next for her.Vanessa's Indie Film Highlight: GYMNASTICS (2025) dir. by Nikki Buziak and Leo FafardMemorable Quotes:" We call it a bedtime story for adults."" The reason that you never see the bug is because I don't want it to necessarily just be a bug, right? If we showed the bug, then it's a film about an owl and a bug, and then it definitely feels like it's for kids.""I was living inside childrens' entertainment."" Honestly, storytelling is storytelling, so whether it's going to be animated or if it's going to be live action...it really is you're working with the scripts and you're focusing on the story, so the two are very interchangeable.""I learned how to tell stories on a small scale.""The sound design was huge for us and score was huge. We called score our other main character because we needed the score to be so powerful that it would draw you through, right?"" When you look at more mainstream animation, you're going to see more often, I think, blockbusters that are animated are usually for kids or family viewing. But in the short film world, it can really span everything, all the ages, all the genres."" I often say that it's not just my job, it's also my hobby, which is so true because filmmaking has been a part of my life since I was a kid."Links:Follow CHRISTOPHER & THE BUG On InstagramFollow Vanessa On Instagram
- 2 weeks ago35 min
Wall Street Journal Entertainment Reporter Ben Fritz
If you're looking to understand the business of film, let me suggest listening to Ben Fritz, who covers entertainment for the Wall Street Journal and is my guest for the podcast.Why? Well, for me, it's two things. First of all, if you listen to his astonishing documentary podcast called "With Great Power: The Rise of Superhero Cinema", you get to hear why he's such a successful journalist. An executive will offer a throwaway line, and Ben simply asks: why? You get something much closer to the truth from a one syllable question than one might expect.It happens throughout this podcast series from 2023, and it is a true masterclass on how interviews should be conducted.And two -- he's just straight with people. In this episode, we talk about an article he recently co-wrote on MUBI, the streaming service, and the money they've lost over the past year. In almost any other situation, the company doesn't participate, the article is branded a hit piece, and the audience is left wondering about the veracity of the story.Instead, MUBI's CEO is quoted in the article, which tells me the respect he gives the co-authors.Or maybe it's three: just listen to the insight Ben provides in this episode. If you go by the notion that the business offers an explanation of the films that show up on our screens, there's no better person than Ben Fritz.In this episode, Ben and I talk about:his preference for hosting a podcast or being a guest on one;his ability to tell a story evenly without looking for gotcha moments, which distinguishes his journalism;how he got started in filmmaking;what he expects out of the summer festival market;what he's learned between covering filmmaking to AI and back to filmmaking;the future of AI in filmmaking;the "$50 Movie Ticket Has Arrived" article and what it means for theaters;what that means for indie filmmakers;the behind the scenes story of his article, "How VC Money and Israel Outrage Derailed a Hot Hollywood Startup" about MUBI;what MUBI's business model portends for the industry;how production companies make money in such a competitive environment -- branding;why Silicon Valley doesn't invest more in Hollywood;what's next for him and how things have changed since 2019;Ben's Indie Film Highlights: PINK WALL (2019) dir. by Tom Cullen; COW (2021) dir. by Andrea ArnoldMemorable Quotes:"I try to make clear to people I'm not gonna pull any punches, but I'm also not here to try to get a gotcha moment.""I feel like it's becoming a lot like everything in the American economy, which is, it's a have and have-nots world."" What I realized quickly is if you understand the business, then you understand why you get the movies and TV shows that you get, right?"" So you could see more movies getting made, more original movies getting made, more people who don't have access to Disney and Netflix being able to raise a little bit of money and make an interesting movie on their own. So we could see this blossoming of creativity that maybe would rival what we saw in the 1970s."" The danger, which some people in Hollywood think, is the more movies become a premium experience where you spend a lot of money, the more it becomes something people think of as I only do this two or three times a year," " I think the I'm gonna get a specialty label or specialty company to buy it and put it in theaters is...that's like winning the lottery at this point."" The one promising thing in this world of indie film theatrical I've seen recently is you've seen some YouTubers put movies into theaters and find a niche audience."" I was able to connect to a source who was just close to Mubi, who was able to give me a lot of inside information on really what happened."" Mubi is a solid business. That's why Sequoia invested in them. It is a healthy business. They just made this huge mistake last year.""My teenage son knows what A24 is, and that name means something to him.""Sequoia's investment in Mubi was shocking to a lot of people. This is so outside the box for what th
- 2 weeks ago1 min
Indie Film Highlight: LAST SUMMER (2023)
Watch This Episode On YouTubeEvery Sunday, I'll post a quick video -- and podcast -- about an indie film from at least a year ago. Today's film: LAST SUMMER (2023)Director: Catherine BreillatWriters: Catherine Breillat; Pascal Bonitzer; Maren Louise KäehneStars: Léa Drucker; Samuel Kircher; Olivier RabourdinSYNOPSISSuccessful lawyer Anne leads a happy life with her husband Pierre and their two daughters. But when she begins an affair with Theo, Pierre's son from a previous marriage, her career and family life are in jeopardy.
- 2 weeks ago42 min
Brandyn Johnson
The film SEAWEED SNACKS (2026), which screened at Slamdance this year, was so moving for me as a father that I wanted to talk with the person that directed it -- Sylvia Ray, a great episode, you can find it linked in the show notes -- and my guest today, the writer, Brandyn Johnson.What does it feel like when someone else directs your words? Why the focus on fatherhood? What is it like mentoring young up and coming filmmakers at Ghetto Film School? Is a USC grad education worth it? We get into all this and more with Brandyn, a brilliant filmmaker and writer currently based in Los Angeles.Finally, we talk about suicide in this episode. If you're struggling, there are resources, starting with 988 if you need someone to talk with about your journey. Kindness truly is currency, as Brandyn says on the show; we want you sitting next to us at the birthday party.n this episode, Brandyn and I talk about:why the topic of fatherhood is so important to him;how much he believes in "write what you know";his start in filmmaking and the incredible work he does for Ghetto Film School;whether teenagers are benefiting from a filmmaking perspective from constant access to video-making devices;his recommendations on an MFA from USC;the experience of watching someone else direct your work as he did in SEAWEED SNACKS;the honesty he tried to imbue in the film;as a writer, what kind of story would he not be comfortable giving away?is it an ego thing connected with just being "writer/director"?the humility associated with giving up your story as a writer in order to get it made;his personal new film, COPARENTING STOREY;what's next for him and why he's so passionate about storytelling.Memorable Quotes:On fatherhood: "Just generally speaking, it's right in front of my face."" Hats off to filmmakers who can write things and build worlds that might not necessarily directly reflect where they come from.""Access in that way is really great for the folks who are aware of that access."On Ghetto Film School's art: "as long as they are making things that prioritize story."" I've been doing this work for almost 20 years, right? So...the reason why I keep doing it is because...it's definitely great to see young people find power."" As a storyteller, our best stories come from our experiences.""It's hard to be creative when you have broke goggles on."" I pitched projects that I knew I would be okay giving away."" If there's one thing that USC is really great at is, it helps you, it forces you to be a great collaborator."" And I think that's also what SEAWEED SNACKS was about. I just want it to be honest.""The soul is in my words."On COPARENTING STOREY: "It's all built around, like the ability that we have to design the kind of life that we want to see.""If I'm going to be here, I'm going to make a net positive impact."Links:Follow Brandyn On InstagramFollow Ghetto Film SchoolCOPARENTING STOREY On Film IndependentWatch Sylvia Ray, director of SEAWEED SNACKS
About First Time Go
A weekly podcast highlighting the creators of independent film and the business behind it. Hosted by Ben Duchek.
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