The rising star and director Morrisa Maltz discuss the magical “terror” of unscripted filmmaking and the beauty in authentic storytelling.
after opening on 7/28 in NY, CA and SD—their reflections on strike waivers and processing the grief at the heart of the film.: I tend to be guarded about docudrama style going into native communities—a lot of times the result is kind of poverty porn-ish.
So Lainey's idea was: why not make the character native? That resonated with Morrisa, who then tied it to me because she had recently seen [Kelly Reichardt’s]. It's rare to find a filmmaker who will shoot through a lens that you're well suited for. And it was organically grown rather than driven by a filmmaker's agenda as an outsider, trying to showcase what their idea of Indigeneity in America is.
Grief is at the heart of this movie, which you shot pre-Covid, in a different reality and political climate. How has your view of the film evolved through the years, given all the losses we’ve suffered since then?The film is grounded in the love for our matriarchs. Morrisa's 103-year-old grandma is [living] with her now, and I also lived with my grandmother and was one of her caretakers, particularly through Covid. I lost her about this time last year.
Being native, elders and children are the center of our culture. In western society, elders are very marginalized, particularly in post-industrialized capitalism. But the way that we're supposed to do things is: you only go as fast as your slowest. During a time when it was so frustrating and heartbreaking that people were losing our most vulnerable because of the pandemic, that's an important note.
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