The Dancing Dogs of Dombrova
An estranged sister and brother travel to Poland at the request of their dying grandmother to retrieve the bones of her childhood dog.
Interview with Director/Producer Zack Bernbaum
Watch The Dancing Dogs of Dombrova on Prime Video and Beamafilm
Congratulations! Why did you make your film?
I was at my parents’ house one day and my sister’s dog starts jumping up and down. My Bubbie exclaimed, “She’s dancing!” It was a really sweet moment that connected our family. My Bubbie is from a town in Poland called Dombrova Gornicza, and the title The Dancing Dogs of Dombrova popped into my head, fully-formed. From there, I crafted the general story, brought the concept to Michael Whatling, he and I further developed the story, and then Michael wrote the script.
Prior to this film I was developing a couple of projects that unfortunately never got made, and I was getting tired grinding away developing, financing and casting projects only for them to fall by the wayside. I needed a creative outlet. The Dancing Dogs of Dombrova is an incredibly personal film that has its roots firmly planted in my grandmother’s history, and I wanted to create something unique to share my Bubbie and her story.
Imagine I’m a member of the audience. Why should I watch this film?
I think it’s a story that people relate to. The film is about travelling to a foreign country with a family member you don’t get along with and being forced to work together to achieve a common goal. Most families have conflicts that threaten to tear them apart, but it is through openness and forgiveness that allow us to heal. This film is very much about giving second, third and fourth chances. It’s a film about recovery and reconnection. It deals with some pretty heavy subject matter but does so with a lot of heart and a dry sense of humour.
How do personal and universal themes work in your film?
I think personal and universal themes should always be intertwined. You want to create a human story that audiences can engage and identify with, and through that connection allow more universal themes to shine through. To me the themes of this film are recovery and reconnection – which are universal in concept – but they are imparted through the lens of an estranged sister and brother who are dealing with very personal issues. I believe that a script or story shouldn’t be created around a theme. The characters and their journey are what reveal the themes of the film. If you work backwards from a theme then the characters often become mouthpieces instead of real people.
How have the script and film evolved over the course of their development?
The old adage of you write the film three times – with the script, on set, and in the editing room – is one hundred percent true. All films are a collaborative process and this film was no different. The script evolved as Michael Whatling and I developed it – finessing character motivations, voices, structure, etc. On set, we create a visual representation of the script and the actors embody the characters in new and interesting ways, all while sticking to the words on the page.
Once we get into the editing room, we try to approach it from a fresh and objective perspective. Nothing is too important to cut if it ultimately doesn’t serve the greater story. There are scenes and beats that make sense on the page that don’t actually work on screen for various reasons – mostly related to plot or pacing. There are a handful of scenes, moments and subplots that were either cut from the film or reordered to allow for better flow.
However, even with these changes the finished film and the shooting script are actually quite close – which is rare – and is a testament to quality writing and solid structure.
What type of feedback have you received so far?
We’ve been so fortunate to receive such wonderful feedback from both critics and audiences. Having people want to talk about your film after a screening, or stopping you on the street to tell you how much the film meant to them is an incredible feeling. It means so much that audiences are embracing the film and experiencing my Bubbie and her story.
Has the feedback surprised or challenged your point of view?
The feedback hasn’t challenged my point of view, but when watching the film with an audience I’m most surprised by what each crowd laughs at or doesn’t laugh at. The comedy is quite dry so every audience responds to different comedic beats. It actually makes the film very re-watchable – even after seeing the film as many times as I have. You experience it differently every time.
What are you looking to achieve by having your film more visible on www.wearemovingstories.com?
My goal is always to engage with that audience on a personal level. Being visible on this site allows people to learn about a film they otherwise may not have heard of, and hopefully find it compelling enough to watch.
Who do you need to come on board (producers, sales agents, buyers, distributors, film festival directors, journalists) to amplify this film’s message?
We’re currently in talks with a couple of sales and distribution companies, but nothing is set in stone yet. We are also hoping to extend our festival run and are awaiting notice from a handful of festivals in 2019. Fingers crossed we can share this film with audiences worldwide through distribution and film festivals.
What type of impact and/or reception would you like this film to have?
First and foremost I would like the film to entertain audiences. I think it is important to have a powerful message and touch people in an emotionally fulfilling way, but to do so while entertaining them is important to me.
What’s a key question that will help spark a debate or begin a conversation about this film?
I would say a key question is “What is our history”? Where we come from is so important, and knowing your past truly influences your present and future. Our history is often what binds us together – especially family – and I hope through that shared history people are able to gain some perspective to forgive past mistakes, and to move forward in meaningful ways. I hope the film sparks those conversations.
Would you like to add anything else?
I would just like to thank all of those who have come out to the film and shown their support. Finding an audience is always difficult and it truly means a lot that people are connecting with and supporting the film.
What other projects are the key creatives developing or working on now?
I’m in development on a few projects, including one with the same writer Michael Whatling that’s set during the Syrian civil war. Our cinematographer, Stephen Chandler Whitehead, is currently travelling the world filming a number of projects. Our editor, Jane MacRae, and composer, Erica Procunier, are both working on upcoming television shows and features. Our key creatives are incredibly talented and are always busy working on exciting projects.
Interview: December 2018
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The Dancing Dogs of Dombrova
An estranged sister and brother travel to Poland at the request of their dying grandmother to retrieve the bones of her childhood dog.
Length: 102 minutes
Director: Zack Bernbaum
Producer: Zack Bernbaum
Writer: Michael Whatling
Key cast: Katherine Fogler, Douglas Nyback
Facebook: The Dancing Dogs of Dombrova film
Twitter: @dancingdogsfilm
Instagram: @dancingdogsmovie