WomenCinemakers vol V WomenCinemakers vol V | Page 29

Your visual imagery seems to be close to
Pina Bausch's• Die Klage der Kaiserin.
Can you tell us your biggest influences
and how they have affected your work?
Choreographically my biggest influence
has through the years been the Netherland
based duo Paul Lightfoot and Sol Leon and
in
more
recent
years Swedish
choreographer Alexander Ekman. They
have a few things in common that I think
resonates
with
me:
humour,
unpredictability, musicality and a way of
seeing the space as a whole, something I
also think translates well into film. Other than
that I try to expose myself to as many artistic
inputs as possible, always seeking inspiration
in unexpected places.
How did you approach editing this film?
There wasn a planned narrative beforehand
so in my head it really was a blank canvas
when I first started piecing the film together. I
wanted to see what scenes spoke to me and
I really fell for the more abstract shots where
I believe Brian managed to capture a sense
of ambivalence.
Unusually for me the editing process was
quite smooth and only took a couple of days
to finish, when normally I tend to sit for
weeks, if not months, on projects going over
the smallest of details.
Your work have been already acclaimed
following screenings at film festivals
around the world -just to name a few, the
prestigious Athens Video Dance Project
and ScreenDance. What do you hope
viewers will take away from• Tofino?
I think it is a film very open to interpretation.
Of course I have my ideas of what the film
signifies but regularly that seems to change
for me too. There was an unintentional
emotional vagueness that through the editing
process and in the composing of the score
became a deliberate ebb and flow of
elusiveness and ambiguity, and in that there
is room to read your own meaning. Or the
lack of it.
Yevgeny•Pashkevich
interview with Jennifer Rozt Druhn
cinemakers // 9
offer the audience an intimacy with the
dancer that can otherwise be easily lost in
a conventional stage room. This potential
for closeness was something I wanted to
capitalise on and on set Brian
experimented with angles and focus further
which, in the finished film, I believe to be
some of the strongest shots.
Cinemakers /47