Saturdays screening was a homecoming.
It was quite emotional, she told us the morning after the screening.
Tsangari wrote the screenplay with Joslyn Barnes.
Athina Rachel Tsangari.Rodin Eckenroth/Getty Images.
The Match Factory is handling sales.
Sean Price Williams was the DoP and the film was edited by Matt Johnson and Nico Leunen.
TheThessaloniki Film Festivalruns until November 10.
DEADLINE: How does it feel to be back in Greece with a new film?
ATHINA RACHEL TSANGARI:It was quite emotional.
There are so many factors.
I was a student in the humanities school here in Thessaloniki.
As an undergrad, I was indoctrinated into auteur cinema by many hardcore cinephile friends.
My first filmThe Slow Business of Goingwas dedicated to my main cinema mentor from my time here.
Then, I started programming the midnight series here called Orgasmic Cinema.
And when I was producing Yorgos Lanthimos films we came here, so its really a homecoming.
I just think its a very well-programmed festival.
They put so much care into everything.
And theres an incredible audience here because its a student town.
Also, Greece is a truly cinephile country.
We take pride in knowing about movies and tracking new films by directors.
Whether its the top of winter or the summer, the cinemas are healthily attended.
DEADLINE: How did this project come to you?
I know the guys at Sixteen Films were excited about it for some time.
TSANGARI:The project originated from three producers.
I got a call from Michael who is a dear friend.
He had suggested me to Rebecca and Joslyn and they agreed.
They sent me the first draft and the book to start.
I was finishing the limited series Trigonometry at the time.
DEADLINE: Why do you think you work at a slower pace?
TSANGARI:I just want to take the time that I feel like I need.
I need to check that a project is something I absolutely need to do.
Not that the world needs it or anything like that but why do I need to do it.
These are the questions I work through before committing to something.
DEADLINE: So did you feel uncomfortable with the pace of this production?
TSANGARI:No, there was actually some time between their offer and me saying yes.
I said yes and then talked to them about my ideas.
I immediately said I wanted to do it in Scotland, not England and they said sure.
I began contributing to the script and twisted it upside down.
So we were lucky.
Earlier this year, Rebecca spoke so passionately in front of parliament about the struggles of financing this film.
And that seemed to really kick start plans for new support for indie film.
TSANGARI:Its so amazing to have a policy change.
This was a really difficult film to put together.
DEADLINE: Why was it so difficult?
You and Rebecca are both very well-respected professionals.
And so it Joslyn.I would assume people would want to give you money.
TSANGARI:And they did.
We got the Grand Accord from both France and Germany.
Only one or two films get that a year.
We got money from the BBC and Screen Scotland with all our credentials combined.
Its a film that truly came into its own when we shot it.
As a script, the character doesnt actually do anything.
And no one saves the day.
So some people had difficulty with the script.
Its not a script that reads commercial at all.
But because there is public funding this film got made.
If we were trying to make this film in America it probably wouldnt have been made.
I know that for a fact because quite a few people turned us down.
Unfortunately, we still have some way to go with this.
TSANGARI:No, we lived in the area, not in the fields.
Caleb did, though.
DEADLINE: The first sequence in the film is so impressive.
I can imagine how difficult that must have been with the conditions in Scotland.
How long did that take to shoot?
We were all on foot.
Sean [Price Williams] is a wild man.
It was me, Sean, the sound recordist, and Caleb.
We really just followed Caleb around and filmed his interactions.
He knew what he was doing.
It was so funny.
DEADLINE: Neither Arinze Kenes character nor Thalissa Teixeiras are Black in Jim Craces book.
The change is very clever because it makes the film very contemporary.
Why did you make that switch.
TSANGARI:Because of Arinze.
I dont really cast for race.
But I just wanted to work with Arinze.
I called him up.
Hes a playwright, director, actor, dancer, and choreographer.
But hed moved to Thailand where he had taken up martial arts and was competing in professional tournaments.
So we lost him.
Our start date was getting closer and I was wrapping up casting and called him again.
He was back in London and available at that point, which was amazing.
I immediately knew I wanted to work with her because ofTrigonometry.
But its so obvious.
They show up and theyre immediately scapegoats and theres xenophobia galore.
TSANGARI:Im really excited about three projects.
Ive been writing a lot.
I have three scripts that are done.
Its a screwball heist set in the near future.
Ive also been developing a film with an actor for two years.
Ive been writing the script while work-shopping with her.
Its been a great experience and I wouldnt be surprised if that happened first.
This is an exciting one because Ive admired this actor for many years.
DEADLINE: Can you say which actor?
TSANGARI:I cant.
