, and, indeed, it feels at times not like a film, but an X-ray that reveals the systemic pain and trauma that underscore these women’s lives. Within the minimal action, you hang on every word and each engulfing street sound.
I also spoke with the two co-directors and writers, Tailfeathers and Hepburn. The film, it turns out, is based on a similar encounter Tailfeathers experienced in Vancouver, whereThe film is nearly just one long take. How did you happen to choose a filming method that, it seems to me, is as elegant as it is complicated?The film was inspired by this very real experience that I carried for years, wanting to do something with it.
There’s also something palpable about the way each woman comes to feel the other person’s power, particularly in the case of Áila.: Even when there’s nothing being said, there are these negotiations of power. Having been the Áila in that experience, there was so much that I learned from this young woman on that day, so much that I learned about myself, and my own presumptions about a young woman in Rosie’s position—about my own presumption that I could help her.
I read that Joni Mitchell allowed you to use the song “Little Green,” which she wrote about giving up her own child, and in the film we see Rosie play the song for her child. What was your intention there?: It’s about reminding the audience about her love for her baby, and the right that she has as a human being and an Indigenous woman to raise that child. I mean, she may be deeply damaged by all those terrible things that have happened to her because of state policies.
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