Film director and actress Anisia Uzeyman was born in Rwanda and studied drama at the Superior School of Theater in France. She has written and directed four plays, and recently starred in the award winning film “Tey,” and the upcoming feature “Ayiti mon amour.” Uzeyman also directs music videos. “Dreamstates” is her first feature film.
“Dreamstates” will premiere at the 2016 LA Film Festival on June 3.
W&H: Describe the film for us in your own words.
AU: Indigo and Spoonie met in their dreams first and meet in reality when Indigo joins Spoonie’s band’s tour. They fall in love against a haunted backdrop. The American road, a place of dreams deferred, conjures an unsettling mood for the band. Tension becomes volatile and the couple breaks up but memories continually appear on walls, signs, and billboards everywhere. Their story plays on loop as if it was an awakened dream.
W&H: What drew you to this story?
AU: Dreams — I wrote the synopsis after a series of haunting days where each wakened reality seemed a continuation of the previous night’s dream. Then there was a desire to turn an everyday camera to the outside to capture an unseen face of America. I decided to treat the story as though I brought my camera into my dream and kept the footage.
W&H: What do you want people to think about when they are leaving the theater?
AU: When people are leaving the theater I want them to feel like they were in “Dreamstates” too. I want them to feel startled — like when you wake from a dream and question your reality. Also, I want people to be thinking about beauty and new possibilities. And perhaps for someone to think “give that girl a budget!”
W&H: What was the biggest challenge in making the film?
AU: Since “Dreamstates” is my first feature film, every single aspect was challenging. From the shooting on the road during Saul Williams’s actual tour, to finding and securing funding, to this present point with its World Premiere at LA Film Festival. It’s been a continual learning curve.
W&H: How did you get your film funded? Share some insights into how you got the film made.
AU: We tried to find producers. We searched in France and the U.S. at every stage of the process. In the middle of the editing of the film we decided to go for a crowdfunding campaign. The campaign was successful and supported editing and outreach.
Since then we’ve been joined by the film producer Maripol (her first film since “Downtown 81,” one of my favorite films), Dave Guenette from the Canadian Label Pirates Blend, and Emilie Saada of Triune Productions to complete post-production.
W&H: What’s the best and worst advice you’ve received?
AU: Most of all, I have found that it’s important to remain encouraged and inspired. Not a lot of people are giving generous advice, so I found most advice interesting whether I chose to take it or not.
W&H: What advice do you have for other female directors?
AU: Go film! Film! Film ! It’s about time. Don’t wait for permission. Don’t wait.
A&H: Name your favorite woman-directed film and why.
AU: I can’t get enough of women-directed films! I love them all for different reasons. I love the work from Maya Deren, Chantal Akerman, Claire Denis, and Barbara Loden. Also, Samira Makhmalbaf’s “The Apple,” Asia Argento’s “Scarlet Diva,” Jennie Livingston’s “Paris is Burning,” and “Le Camion” (“The Lorry”) by Marguerite Duras have a special place in my heart: they are inspiring and bold.
