Sundance feature programmer Ania Trzebiatowska joins the show to talk about curation as craft, responsibility, and intuition. From her roots in Poland to running Krakow’s Off Camera festival, working in acquisitions at Visit Films, and programming U.S. and world documentary features at Sundance, Ania reflects on how taste is formed and why being pleasantly surprised when viewing submissions still matters most.

We discuss the realities filmmakers obsess over, including who you know, timing, marketplace “success,” and why Vimeo analytics do not tell the full story. Ania breaks down what actually happens behind the scenes at Sundance, how programmers balance limited slots with thousands of film submissions, and why being the right fit matters more than trends or agendas.

She shares why festivals need balance between urgent, heavy films and work that is entertaining, humane, and emotionally alive. Drawing from examples like André Is an Idiot and Gleason, Ania explains how character-driven storytelling can carry even the most difficult subjects. Advice to filmmakers: do your research, be clear about what you are making, and remember that programmers are rooting for you, even when the answer might still be no.

What Movies Are You Watching?

Listen to all episodes on Spotify, Apple Podcasts, and more, as well as at www.pastpresentfeature.com. Like, subscribe, and follow us on our socials @pastpresentfeature

The Past Present Feature Film Festival - Nov. 20-22, 2026 in Hollywood, CA - Submit at filmfreeway.com/PastPresentFeature

Italian documentarian Parsifal Reparato discusses She, his five-year journey inside Vietnam’s electronics manufacturing world, where young migrant women work 12-hour shifts producing devices for the global market. What began as labor-rights research grew into a portrait of fear, capitalism, and survival, earned through slow trust-building with workers afraid to speak openly.

We unpack creative influences like Lars Von Trier’s Dogville, Joshua Oppenheimer’s The Act of Killing, and the observational approach he absorbed from working with Roberto Minervini. Parsifal explains how the film’s black-box reenactment set became a space where workers could rebel, speak freely, or even destroy it. Instead, they rest together, revealing exhaustion itself as resistance.

We talk filmmaking as labor, the emotional toll of activist storytelling, parting with his first editor and later rebuilding the film with Alice Roffinengo, whose perspective shaped its final form. Parsifal reflects on his Locarno premiere, the weight of representing real people on screen, and the responsibility of carrying stories born from hardship.

Advice to filmmakers: trust your voice early, accept risk, and if you’re going to struggle, struggle for something that matters.

What Movies Are You Watching?

Listen to all episodes on Spotify, Apple Podcasts, and more, as well as at www.pastpresentfeature.com. Like, subscribe, and follow us on our socials @pastpresentfeature

The Past Present Feature Film Festival - Nov. 20-22, 2026 in Hollywood, CA - Submit at filmfreeway.com/PastPresentFeature

Taiwanese filmmaker Shih-Ching Tsou traces her path from a strict upbringing in Taipei to directing Left-Handed Girl, Taiwan’s 2025 Oscar submission for Best International Film, and now streaming on Netflix. After years working alongside Sean Baker, the four-time Academy Award winner known for Anora, Tangerine, and The Florida Project, and her creative partner since they co-directed their first feature Take Out, Shih-Ching steps forward with her solo directorial debut.

Shih-Ching and Baker wrote the script for Left-Handed Girl in 2010, but financing challenges kept the project on hold for more than a decade. Principal photography finally began in July 2022, a delay she now views as part of the film’s natural evolution. The story draws from her experience growing up left-handed in a culture with rigid expectations for girls, and its emotional specificity has already connected with audiences around the world.

Shot on an iPhone 13 with Beastgrip anamorphic lenses, the film captures Taipei’s night markets with stripped-down realism influenced by Dogme 95 and Lee Chang-dong’s Oasis. Shih-Ching worked with a small mobile crew, created the soundscape herself, and shaped the edit with Baker, whose instinct for editing performances she considers unmatched.

After premiering at Cannes Critics’ Week, Left-Handed Girl traveled the global festival circuit before Netflix acquired most territories, followed by theatrical releases in Taiwan, New York, and Los Angeles.

Now representing Taiwan internationally, Shih-Ching reflects on stepping into visibility after decades behind the scenes. Her advice to filmmakers: trust your voice, avoid trends, build community, and keep going. Some films take time, and recognition often arrives later.

What Movies Are You Watching?

Listen to all episodes on Spotify, Apple Podcasts, and more, as well as at www.pastpresentfeature.com. Like, subscribe, and follow us on our socials @pastpresentfeature

The Past Present Feature Film Festival - Nov. 20-22, 2026 in Hollywood, CA - Submit at filmfreeway.com/PastPresentFeature