Psychological Thriller’watch‘ indicator Alexis JacknowIts feature-length directorial debut. Acted in the film Diana Agron Now streaming hulu.
What is the plot of ‘Ghari’?
Directed and written by Alexis Jacknow (‘again‘), ‘Ghaadi’ is based on a short film same name, also directed and written by Jacknow. The short premiered on Hulu in 2020 as part of its “Bite Size Huluwin” lineup. The feature film is focused around Ella, a woman who enrolls herself in a clinical trial and faces pressure from friends, family and society to have children in order to fix her seemingly broken biological clock.
Who is in the cast of ‘Ghari’?
‘Clock’ star Dianna Agron (‘Acidman‘,’As they made us‘) as Ella, Melora Hardin (‘self/less‘) as Dr. Elizabeth Simmons, and Joy Ali (‘illegal‘) as Ella’s husband Aidan. The film also stars Grace Porter (‘eater alert‘) as Shauna, and To Saul Rubin (‘True romance‘) as Ella’s father Joseph.
Moviephone I recently had the pleasure of speaking with writer/director Alexis Zachno about his latest film, expanding the story from a short film, his own experience of facing social pressure to have children, and what drew him to the horror genre.
Moviephone: Alexis, this movie really hits close to home, and I think many women who watch it will feel the same way. Can you talk about your creative process and your writing process for the film?
Alexis Jacknow: yes Well, the movie was initially based on a short I made a few years ago, but when I was asked to develop it into a feature-length it took on a very different story. And it was an incredibly personal story for me. I struggled for many, many years with whether or not I wanted to have children. It was absolutely something that was keeping me up at night and tormenting me, and I felt like it was a really great place to write a horror story.
MF: Let’s talk about the short, because it’s basically based on the same experience and theme around the “biological clock.” Can you talk about the biggest challenge of taking that idea and that short film and expanding it to feature filming length?
AJ: Well, the short was really about the moment a woman’s “biological clock” starts and I know no one can see us. Because we keep putting that in air quotes, and I know that it’s not actually a real thing. This is something that some people made in the 70s. The short is about the moment a woman’s biological clock starts and then she has to make real compromises between family and career. But to sustain it as a feature, I was really interested in exploring something that was a little more personal to me, which was the idea of a woman who didn’t want children and was bearing the brunt of what society was throwing at her. , what his culture was throwing at him, friends, family, etc. and having to unpack it in 90 minutes.
MF: At any point during the writing process, did it feel almost therapeutic to put it down on paper and turn it into this other real thing as a film?
AJ: I think the cathartic thing for me was actually the audience response because I reached out to a lot of people on social media or after the movie came out to me and just said, “Thank you so much because I feel less alone now and I feel seen and I have never presented this character or this point of view in a film before. For me, it was a cathartic piece, because art is not my therapy. Therapy is my therapy. So for me personally, the catharsis of this movie was yes, I can make features. I get to direct movies. Can. Great. Let’s move on with this career. But I think on a larger scale, the best catharsis, the best feeling that comes out of all of this is seeing these people who have felt really marginalized or felt really alone, saying, “I’m less I feel alone knowing that there is a community out there of people who feel the same as me and it’s okay to talk about it.”
MF: What do you want viewers to take away from this movie when they see it?
AJ: yes I mean, I just want people to feel less alone because it’s not a movie that says women shouldn’t have children. This is not a movie that says women should have children. This is a movie that says, “We should leave women alone and choose their own path and support them either way. Or if you can’t mind your own business.”
MF: So let’s talk about your lead for the movie, Dianna Agron, who is absolutely gorgeous and is in literally every scene. Can you talk about his performance and the experience of working with him?
AJ: Diana was nothing short of a dream to work with. I got incredibly lucky with him. The thing you mentioned about his presence in every single scene and the performance he gave becomes even more impressive when you understand the context of our film being greenlit. Then we started prepping two weeks later, so she got the script two or three weeks before we started shooting. To take in 90-plus pages of that material, a wild ride for any actor, is a lot to chew on. It was a miracle to see each day without being in a great mood and fully committed to everything. I mean, I’m so lucky to have him as my partner. I was very blessed to have her on this project.
MF: What were the most challenging scenes for Diana, mentally and physically?
AJ: He just went for it and there was nothing he wouldn’t do. He pushed me. I said many times, “No, no, I don’t want you to do this. I have a safety concern about it. Or let me take care of it in the post.” He would very kindly ignore it and then do the thing. I think the one thing he didn’t love or that bothered him a little bit was the moment where he had to run up the hill and we had a There was a great stunt team. We attached him to a line and everything was obviously very safe, but it’s a stunt he doesn’t like to do. But you ask him to put his head two inches from a live tarantula. And he’s like, “Yeah. , no problem.” So to each their own.
Related Article: Female Director: Iuli Gerbase Talks ‘The Pink Cloud’
Moviephone: So the scene where he basically dives is his?
AJ: Well, we have a stunt performer, Joy (Dashnow), but there are so many shots of Diana running towards the cliff, Diana stopping short of the cliff. And then there’s a take where no spoilers, but we had a stuntwoman involved for one of those shots. yes
MF: There are some really creepy elements in this movie. Can you talk about creating the appearance and shape of the animal?
AJ: I wanted to look forward to him too. I mean, he’s really larger than life. His ideas are larger than life. He embraced this idea of lineage and heritage, and this idea of Judaism being passed down through the mother. So to me, he had to literally elongate and this long face, it’s almost like his past trying to scream something to really be heard by him. And just the horror of feeling that maybe you’ve let down your ancestors who went through so much and that feels huge to me. So the very tall woman also grew tall.
MF: I also like the way you play with color in this film. Everything was very lively including the costumes of all the characters until the third act when things became more muted. So what inspired you to communicate this way?
AJ: Well, I knew I’d handle it. So when I started writing it, I asked myself, “Well, what do you have in your tool belt visually as a director? To show what you can take away from her as a career woman, because she’s betrayed herself, her The career is going downhill.” I thought about color, and that really played a part in the decision to make her an interior designer and not just an interior designer, but a “color authority.” That’s his jam. This is known as his eye for its color. It was something I knew I could take away from him, which wasn’t easy because we did it both practically and in color. But if you look, the first time we see her in the kitchen, she’s in the kitchen with color everywhere on top of this beautiful red pot. Then the second time we see her in the kitchen with Aiden, we’ve taken all the color out of there. Everything is replaced with black and white etc. So a lot of it was actually done by my production designer Christine Gibler. Then the rest we took care of in color with my brilliant colorist Kath Lish.
MF: I really like this touch. Even from the food to the caviar and eggs, the details, I really enjoyed seeing it all. Can you talk about how you paid attention to all the little things in the background?
AJ: yes Well, the thing about the egg that really hit us later was that Roe (V Wade) was flipped during the making of the movie. The movie opens with a picture of Roe and that is of course Roe (V Wade). And it just lends this whole other lens that we look at it through now that I didn’t originally intend. But here we are.
MF: What is it that draws you to the horror genre?
AJ: I just think it’s a great way to get people to sit up and pay attention. Horror meets the eye, people love horror. It’s entertaining. I don’t think that if I had written it as a straightforward indie drama about female body autonomy and women’s choices, that it would have gotten made or that it would have garnered the amount of attention it certainly has. So if you hide the vegetables, people are more likely to tune in. If you make it entertaining along the way, the messaging can still be there.
MF: Finally, what can we look forward to seeing from you next?
AJ: It’s hard to say considering the (writers’) strike, which I hope will be resolved very quickly, and I’m picketing as much as I can right now. I belong to more than one union, so I am united in this interview. But yes, I have a few projects. I have a 21 laps movie called ‘The Blinding’, which is a horror film that I’m really excited to get my feet on at some point. I have an indie drama called ‘The Villager’ which I have a wonderful cast attached to. I am equally excited and passionate about that content.
‘The Watch’ is now available exclusively on Hulu.
Other Movies Like ‘Ghaadi’:
Buy Dianna Agron Movies on Amazon
‘Watch’ is produced by 20th Digital Studios, and is currently available on Hulu.
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