Leslie Tai is a second-generation Chinese-American filmmaker. In her short documentary film, Grave Goods, the director pays homage to her grandmother with a sensitive reflection on mourning and remembrance.
I would essentially destroy or obliterate myself in the attempt to match myself to a certain image. And it always involved a tremendous loss- those works are all really tragic because they illuminate what happens when you are willing to abandon everything else in favor of the image.
Red Heaven is a feature documentary film that follows six people who volunteered to live in near isolation for a year, in a 1000 square foot dome on the slopes of the remote Mauna Loa volcano in Hawaii.
The biggest challenge in making this documentary for the past two years has been figuring out how to gather the funds... I seemed to be stuck in a chicken-and-egg situation where I needed to show the film to receive funding, but I couldn't make the film without funding.
After an accident report obliges Luna to watch old security footage, she notices that Diego secretly likes to dance when he thinks nobody is watching, instigating a series of the two making pseudo-dance videos for each other to watch on the security camera, which they access through the use of the titular timecode.
I’d like to make work on a more detailed and sensory level. I came to Joshua Tree to live more intentionally and be able to experience my life as it happens rather than trying to catch up. I want to connect–I want people that look at my work to feel something transformative.
We're living in a New New York, and films set in this New New York have a gloss that I don't think is what the origin of film in New York is about. I'm not into nostalgia, or even that into tradition, but I am into ethos.
I felt that I was turning myself inside-out, turning white-to-black and vice versa held strong symbolic meaning psychologically. I started to dream about the paintings. They came alive and communicated to me why they needed to exist.