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Kim Voynar

By Kim Voynar Voynar@moviecitynews.com

SXSW Pick: Amy Seimetz’s Sun Don’t Shine

I don’t run a lot of posters and clips here, for big studio films at least, but every now and again a pitch will catch my interest. In this case, it was an email about Amy Seimetz’s feature film directorial debut, Sun Don’t Shine, which is having its world premiere at SXSW. Seimetz, of course, starred in Megan Griffith’s The Off Hours, a well-received feature that debuted at Sundance in 2011. And I’m on kind of a mission to support and write about female filmmakers right now, in anticipation of both another Cannes and another awards season that will be dismally bereft of female directors, writers and producers. Also, it stars Kate Lyn Sheil, who was in both The Color Wheel and Green last year. These two, along with Sophia Takal (director of Green) are perched to be strong female voices on the indie film scene.

Clip to the film is after the jump.

The music in the scene is by Cary Ann Hearst, who is also performing at SXSW.

Writer/director/actor/producer Amy Seimetz returns to SXSW with her mesmerizing film Sun Don’t Shine, which follows a troubled young couple’s road trip along the desolate yet hauntingly beautiful landscape of central Florida. As the couple travels up the Gulf Coast the disturbing details of their excursion gradually begin to emerge, revealing Crystal’s (Kate Lyn Sheil) sinister past and the couple’s troubling future.

Director(s): Amy Seimetz
Executive Producer(s): Tim Fargo, Andrew Krucoff, Shane Carruth, Mark Reeb
Producer(s): Kim Sherman, Amy Seimetz
Screenwriter(s): Amy Seimetz
Cinematographer: Jay Keitel
Editor(s): David Lowery, Amy Seimetz
Production Designer: Lanie Faith Marie Overton
Sound Designer: Ben Huff
Additional Credits: Co-Producer: Dalila Droege, AC/gaffer: Michael Wilson, Sound Recordist: Andrew “C-Nug” Brown, Associate Producer: Andrew Hevia

Principal Cast: Kate Lyn Sheil, Kentucker Audley, AJ Bowen, Kit Gwinn, Mark Reeb

Sun Don’t Shine – Worldwide Premiere- SXSW 2012 – Saturday, March 10th, 2012- Alamo Lamar C

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DEADLINE: How does a visualist feel about people watching your films on a phone or VOD?
REFN: It depends on what kind of movie you make. We had great success with Only God Forgives on multiple platforms in the U.S. Young people will decide how they see it, when they want to see it. Don’t try to fight it. Embrace it. That’s a wonderful opportunity. We’re at the most exciting time since the invention of the wheel, in terms of creativity because distribution and accessibility have changed everything. A camera is still a camera whether it’s digital or not; there’s still sound; an actor is an actor. Ninety-nine percent of what you do is going to be seen on a smart phone – I know this is the greatest thing ever made because it allows people to choose, watching what you do on this format or go into a theater and see it on a screen. That means more people than ever will see what I do, which is personally satisfying in terms of vanity. But you have to be able to adapt, to accept things in different order and length than we’re used to. We are in a very, very exciting time.
~ Nic Refn to Jen Yamato

DEADLINE: You mention Tarantino, who with Christopher Nolan and a few other giants, saved film stock from extinction. To him, showing a digital film in a theater is the equivalent of watching TV in public. Make an argument for why digital is a good film making canvas.
REFN: Costwise, it’s a very effective way for young people to start making movies. You can make your movie on an iPhone. It’s wonderful seeing how my own children use technology to enhance creativity. For me it’s a wonderful canvas. Sure, I love grain in film. I love celluloid. But I also like creativity. I like crayons, I like pencils, I like paint. It’s all relative. Technology is more inclusive. A hundred years ago when film was invented, it was an elitist club. Very few people got to make it, very few people controlled it and very few people owned it. A hundred years later, storytelling through images is everyone’s domain. It’s ultimate capitalism. There are no rules, and no barriers and no Hays Code. Where does this go in another hundred years? I don’t know but I would love to see it.
~ Nic Refn To Jen Yamato