Sunfish (& Other Stories on Green Lake) will be released in theaters across the U.S. beginning on Friday, September 12 at the IFC Center in New York. With additional cities to follow.
Up to date screening info here
Describe the film for us in your own words.
Sunfish (& Other Stories on Green Lake) is a collection of short stories set around Green Lake in rural Northern Michigan. The film draws from my Michigan upbringing and explores themes of coming of age, isolation and transition.
What drew you to this story?
Beyond the natural desire to share my favorite place in the world with audiences who might otherwise never experience it, I am fascinated by the interconnectivity of people and place, by the way our cities, communities and environments shape personal and collective identity while simultaneously being shaped by the people who live within them.
What do you want people to think about?
I want people to think about home. To me, watching Sunfish feels like stepping into an old photo book. It’s warm and comforting and I hope audiences feel that too. I hope everyone can feel a bit of home in this movie, wherever home may be.
What was the biggest challenge in making this?
The boat and water scenes were particularly challenging. Boat to boat filmmaking is difficult for a number of reasons—you’re constantly fighting against waves, currents, and the inability to maneuver with any real precision.
About a week before production, we found Finn’s boat for sale on the side of the road for a few hundred bucks. It didn’t run (no engine, no rudder) but it was in just good enough condition to float, and that was enough. We ended up towing it with another boat just to get it out on the lake. One morning, our tow boat also died, so we had to fetch a third boat to bring both dead boats back to shore. (Stay away from boats, friends!)
Working on such a small budget, we were constantly racing against the clock and the weather. We shot the film in eighteen days and somehow, we were blessed with clear skies for the entire shoot. I kid you not, the day after wrap, the skies opened up and it poured rain for two weeks straight.
What was the development process? How did you get green lit? (Is it a studio film, a crowdsourced film, somewhere in between?)
Sunfish was my graduate thesis film at UCLA, and so the film was developed as a part of my coursework. I workshopped the script in class and found my crew primarily through the UCLA network. Financing was scraped together through school thesis funding, grants, and donations.
What inspired you to become a storyteller?
As a kid, I was obsessed with mystery novels. For a long time, I thought I would be a detective, or a private investigator, or a lawyer maybe. Eventually, I realized I was less interested in solving crimes and more interested in the process of asking questions and searching for answers. At its core, I think that’s what storytelling, and filmmaking, is all about.
What’s the best and worst advice you've received?
The best advice I’ve received is to remember that I am the first audience for my film as I’m making it (really watch and listen to the movie unfold with each take) and to always listen to my actors more than I speak. The worst advice I’ve received was early on, when someone told me to make a backup plan in case filmmaking didn’t work out. Practical advice, sure, but if I had followed it, I doubt I would have taken the risk to make Sunfish (and I’d probably be a lawyer by now).
What advice do you have for other female creatives?
Trust that your voice and perspective is valuable. Take note of what lights you up and follow it (I have found that the best ideas are the ones that come easy). And don’t wait for someone else to tell you yes. Just go for it.
Name your favorite woman directed film and why.
It’s impossible to name just one. But some of my favorites are: Mustang (Deniz Gamze Ergüven), La Cienega (Lucrecia Martel), Winter’s Bone (Debra Granik), The Souvenir (Joanna Hogg), Petite Maman (Céline Sciamma), Cleo From 5 to 7 (Agnès Varda), The Lost Daughter (Maggie Gyllenhaal), Anatomy of a Fall (Justine Triet), A League of Their Own (Penny Marshall), and I Am Not a Witch (Rungano Nyoni).
I’m drawn to films that center women’s experiences and perspectives, situating close character observation within a broader social, familial, or political context, while balancing emotional intimacy with formal experimentation.