Past Present Feature with Marcus Mizelle

Daniel Blake Schwartz breaks down how Tribeca Best U.S. Narrative Feature winner Cotton Fever grew out of years spent collecting stories during his own experience with addiction and recovery, ultimately transforming those fragments into a deeply personal debut feature. Drawing inspiration from filmmakers like Andrea Arnold and Hirokazu Kore-eda, Schwartz pursued a style rooted in realism, empathy, and lived experience rather than conventional dramatic structure. The film evolved from a self-f...

Tawfik Sabouni breaks down his Berlinale-bound documentary Other Side of the Sun and how it grew out of lived experience, from filming protests during the Syrian revolution to imprisonment, exile, and ultimately shaping that reality into his first feature. He doesn’t separate fiction and nonfiction, approaching cinema as one language built around truth and urgency. The film follows survivors returning to the prison where they were held, using reenactment to access memory rather than spectacle...

Belgian filmmaker Frederike Migom breaks down her Berlinale premiere Everyone’s Sorry Nowadays, a coming-of-age story set almost entirely inside a single home and a young girl’s mind. The film explores identity through a tightly contained structure, blending realism with imagined sequences that bring the character’s inner world to life. She talks through her unconventional path into directing, from acting and production work to navigating Europe’s state-funded film system. A key turning point...

Gille Klabin discusses Weekend at the End of the World, his follow-up to The Wave, and the deliberate choice to build a second feature that didn’t require waiting for studio permission. Shot in 12 days on a sub-$300K budget, the film was designed around creative, logistical, and financial control. Gille reflects on the lessons he learned from The Wave’s release, where traditional distribution left him frustrated by opaque marketing spends and limited transparency, and how that experience resh...

Gabby Osio Vanden and Jack Weisman join the show after winning Sundance’s Grand Jury Prize to unpack the ten-year road behind Nuisance Bear, a polar bear’s journey through two connected worlds: tourist-heavy Churchill, Manitoba, and the Inuit community of Arviat, where the stakes are far more complex and far less welcoming. The film becomes a meditation on coexistence, control, and who gets labeled a “nuisance” in a shared landscape. We dig into craft and access: finding the right position fo...

Stephanie Ahn discusses Bedford Park, (Special Jury Award) her Sundance U.S. Dramatic Competition debut about a Korean American woman in her 30s pulled back into her parents’ home after her mother’s car accident, where she meets the man responsible and an unexpected connection begins to form. Ahn shares why she needed to make this film, how growing up Korean American left her hungry for stories that felt real beyond familiar clichés, and why writing Bedford Park meant finally walking straight...

Sundance feature programmer Ania Trzebiatowska joins the show to talk about curation as craft, responsibility, and intuition. From her roots in Poland to running Krakow’s Off Camera festival, working in acquisitions at Visit Films, and programming U.S. and world documentary features at Sundance, Ania reflects on how taste is formed and why being pleasantly surprised when viewing submissions still matters most. We discuss the realities filmmakers obsess over, including who you know, timing, ma...

Taiwanese filmmaker Shih-Ching Tsou traces her path from a strict upbringing in Taipei to directing Left-Handed Girl, Taiwan’s 2025 Oscar submission for Best International Film, and now streaming on Netflix. After years working alongside Sean Baker, the four-time Academy Award winner known for Anora, Tangerine, and The Florida Project, and her creative partner since they co-directed their first feature Take Out, Shih-Ching steps forward with her solo directorial debut. Shih-Ching and Baker wr...

Janicke Askevold unpacks her journey from shooting Together Alone with friends during COVID to premiering her new feature Solomamma at the Locarno Film Festival. The Norwegian actor-turned-director traces how a one-page pitch led to full Norwegian Film Institute backing and a 25-day Oslo shoot that balanced long summer daylight, short 8-hour workdays, and a five-year-old co-star. Solomamma follows Edith, a journalist and single mother who secretly seeks out her sperm donor - an encounter that...

Norwegian filmmaker Audun Amundsen, director of Click the Link Below, which premiered at Doc Edge in Auckland, follows online gurus like Akbar Sheikh and Tai Lopez to show how engagement algorithms reward extremes and blur value with hype. Audun traces an unlikely path from renewable energy engineer and backpacker to documentarian, surviving a stroke at 23 before returning to Indonesia that resulted in his previous documentary Newtopia, a 15-year chronicle of a community’s shift from ba...

Thom Powers, a renowned documentary programmer for the Toronto International Film Festival (TIFF), former artistic director of DocNYC, and host of the “Pure Nonfiction” podcast, delves into his journey from filmmaker to influential festival curator. Thom shares behind-the-scenes details about programming films like “The Bibi Files,” directed by Alexis Bloom, and Rebecca Huntt’s “Beba,” highlighting the unique power of documentaries to engage audiences. Thom emphasizes the importance of ...

In this first episode of Season 2, documentarian Madeleine Gavin joins Past Present Feature to discuss the making of "Beyond Utopia", her gripping BAFTA and Emmy-nominated film about North Korean defectors. She reflects on the emotional intensity of telling stories under high-stakes conditions and the delicate trust required between filmmaker and subject. From the invisible hand of editing to the indivisibility of sound and image, Madeleine shares insights into her creative process, drawing i...

Co-Directors David Joseph Craig and Brian Crano share their take on the unique blend of horror and comedy in their latest film, “I Don’t Understand You”, now in theaters following SXSW. Past films discussed include Eugene Levy’s 1992 crime-comedy “Once Upon a Crime”. They share their personal experiences working with producing partners Joel and Nash Edgerton, what it’s like to film in Rome, Italy, and the importance of collaboration with an Italian crew. The conversation also touches on nosta...