Slamdance - M/M
Matthias lives in Berlin. Matthias likes techno. Matthew likes Matthias. Matthew wants Matthias. Matthew wants to be Matthias.
Interview with Writer/Director/Producer Drew Lint
Watch M/M on Prime Video and Dekkoo
Congratulations! Why did you make your film?
Thank you! I wanted to make M/M because although I'm a huge fan of queer film, I find myself often feeling alienated by the kinds of stories that are being told in dominant LGBTQ culture. I wanted to make a film that touched on topics that are relevant to me personally, and to employ modes of storytelling I find compelling. M/M is a genre collision, heavily referencing tropes from thrillers and melodramas to ultimately make a unique piece of cinema that reflects our contemporary world. I wanted to create something that felt new and fresh, but still held the work of my favourite filmmakers with reverence.
Imagine I’m a member of the audience. Why should I watch this film?
This film needs to be experienced to really be understood. Seeing and hearing and feeling it are essential. If you're intrigued by the prospect of a hypersensory experimental narrative feature that expects engagement from the audience and promises to provide a wild ride filled with intense sounds and visions in return, this is the movie for you. Think of it as Žuławski's Possession meets Nicolas Roeg meets RW Fassbinder meets Greg Araki meets the early work of Todd Haynes.
How do personal and universal themes work in your film?
The film is very much an expression of my headspace after moving to Berlin 4 years ago. I was really inspired by the queer nightlife scene and the very international group of artists and creatives that flock to the city, but I also felt the isolation of being new to a strange city (and Berlin is a very strange and wonderful city). So, even though the film is a much more extreme vision of reality, elevated to the heights of a melodrama, it still reflects my inner struggle at the time to find community and adhere to male beauty standards.
How have the script and film evolved over the course of their development?
Films are constantly evolving throughout the creative process, so while it has retained the initial concept and story I wrote in the beginning, the script also changed considerably throughout the process of making the film. To that end, while we were shooting the climax of the film, we were forced to stop and reflect (after being kicked out of our location by the police) and improvised a new ending. After principal photography, I began to feel like the film needed an additional element to tie the images and ideas of the film together, so I wrote the 3D printing storyline. It basically wrote itself. It seemed like such a natural fit into the world of the film -- really functioning as a tangible, visual metaphor for my ideas. Now I can't imagine the film without it. It's become such a central component, but was only born out of necessity.
What type of feedback have you received so far?
We've had very positive feedback so far, which feels really great, of course. It's an amazing feeling to finally show the film to a room full of strangers after working on it for over four years. People seem to be willing to come along the journey with us and let this crazy movie wash over them.
Has the feedback surprised or challenged your point of view?
So far I've been surprised by how consistent the feedback has been with my point of view. There's a lot of room for interpretation with this film and I'm happy for people to bring their own ideas to the film and construct what the film means for them. That said, it seems like people are picking up what I'm laying down, which is pretty amazing. I'm excited to show it to more people and talk with them about their perceptions of the film.
What are you looking to achieve by having your film more visible on www.wearemovingstories.com?
We want as many people as possible to see the film, so hopefully being featured here on www.wearemovingstories.com will help bring M/M to some new audiences.
Who do you need to come on board (producers, sales agents, buyers, distributors, film festival directors, journalists) to amplify this film’s message?
We've signed with Film Republic, a sales agent based in London, who will represent the film for international sales. We're now looking for distribution for the film, and of course trying to do a great run on the film festival circuit with it.
What type of impact and/or reception would you like this film to have?
I would be very pleased for the film to have an impact on perceptions of how societal expectations shape the behaviour of queer men.
What’s a key question that will help spark a debate or begin a conversation about this film?
The heart of the film really lies in the complicated relationship I have with masculinity. As a gay man and as a person who identifies as queer, I have conflicting thoughts and feelings on that topic. The film is a reflection of maleness, both the aggression and competition that men are conditioned to engage in based on societal expectations and norms, but also the beauty and tenderness that masculinity can have. I feel caught between those opposing forces and I think a lot of other people feel the same way, so I hope the film can open up communication on that topic.
What other projects are the key creatives developing or working on now?
I'm currently writing a new feature film project set on a Greek island, plus I have another project in development, both of which I hope to dive into more fully when I'm back in Berlin after Slamdance. Karen Harnisch (producer) is set to produce Calvin Thomas & Yonah Lewis' feature drama BALDY, about a young woman faking cancer, set to star Hannah Gross (Mindhunter), and a television adaptation of Yann Martel's We Ate the Children Last, to be written and directed by Andrew Cividino. Ann Tipper (director of photography) has a few films in post-production now, including a dance film called WALL STARE directed by Miranda Forbes and SLASHBACK, a short film directed by Nyla Innuksuk. Zazu Myers (production designer) is currently in production on a feature film directed by Patricia Rozema called MOUTHPIECE.
Interview: January 2018
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We Are Moving Stories embraces new voices in drama, documentary, animation, TV, web series, music video, women's films, LGBTIAQ+, scifi, horror, world cinema. If you have just made a film - we'd love to hear from you. Or if you know a filmmaker - can you recommend us? More info: Carmela
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M/M
Matthias lives in Berlin. Matthias likes techno. Matthew likes Matthias. Matthew wants Matthias. Matthew wants to be Matthias.
Length: 81 minutes
Director: Drew Lint
Producer: Karen Harnisch & Drew Lint
Writer: Drew Lint
About the writer, director and producer:
Drew Lint (Writer/Director)
Drew Lint grew up Sweets Corners, Ontario. He graduated from Ryerson University's School of Image Arts in Toronto. His work often incorporates elements from genre films that are reworked to suit his needs, creating contemporary, queer worlds.
Karen Harnisch (Producer)
Karen Harnisch is a partner at Film Forge, a production shingle she leads with director Andrew Cividino. She produced Cividino’s SLEEPING GIANT which premiered at Critics’ Week in Cannes and won the Best Canadian First Feature Award at the Toronto International Film Festival, among other accolades.
Key cast: Antoine Lahaie & Nicolas Maxim Endlicher
Looking for: buyers, distributors, film festival directors, journalists
Social media handles:
Facebook: www.facebook.com/mmmoviemm/
Twitter: @drewlint
Instagram: @drewlint @karenharnisch
Other: film-mm.com
Made in association with: Film Forge Productions & Fordworks Media
Where can I watch it next and in the coming month? TBD