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Journal
How we shot the film's pivotal border crossing sequence with one camera, two operators, and a plan that fell apart on day one.
On finding the two leads who could say everything without saying anything.
Notes from the piazza. On winning, on losing, and on what film festivals are actually for.
A decade on from our debut feature, director Elena Voss revisits the film and what it taught us about fear.
DP Marcello D'Amico on why controlled chaos in cinematography produces results no studio setup can replicate.
James Okafor on the ethics of what we choose to show and — more importantly — what we cut.