Ursula Macfarlane is an award-winning UK-based documentary filmmaker. Her films include “One Deadly Weekend in America,” “Charlie Hebdo: Three Days That Shook Paris,” and “Breaking Up With The Joneses.”

“Untouchable” will premiere at the 2019 Sundance Film Festival on January 25.

W&H: Describe the film for us in your own words.

UM: “Untouchable” is a dark and haunting modern parable about an age-old story—the abuse of the vulnerable by the powerful and the layers of complicity that allow it to happen. The film is conceived as a bold, dramatic narrative that follows the structure of a Greek tragedy, from shocking hubris through reversal of fortune towards what some hope will be a reckoning.

To enhance the dramatic feel, I’ve created a visual language for the film that celebrates the allure of the movies, while at the same time evoking the darker side of Hollywood and the American Dream.

At the heart of a story is a young actress whose hopes and dreams, in her mind, hinge on gaining Harvey Weinstein’s favor—after all, he tells people that he can “make or break” their careers. Through her story, we begin to understand the treacherous relationship between the powerful who have something to offer and the vulnerable who desperately want what they’re offering.

It’s also the story of a man some saw as a visionary, a disruptor of the film industry in positive as well as negative ways. But he’s a man who deploys ruthless methods to preserve power, even as scandal threatens to engulf him.

And at the emotional heart of the film, it’s about the brave women who speak up about Weinstein’s alleged abuses and tell us of the collateral damage that lasts for decades.

My wish is that the film celebrates the power to be found in breaking silence, and that it inspires a conversation about collective strength and meaningful change.

W&H: What drew you to this story?

UM: When the news of Weinstein’s decades-long alleged assaults on women broke in October 2017, it felt personal. These allegations of assault, abuse, and intimidation were horribly familiar to me and to many of my friends.

Here was an opportunity to explore this age-old story and to shine a spotlight on the industry which I love and am proud to work in. I was shocked to discover the extent of Weinstein’s alleged abuses and my immediate reaction was to question how it happened and how he got away with it for so long.

W&H: What do you want people to think about when they are leaving the theater?

UM: I’d like people to feel shocked and saddened by the heartbreaking effect of abuse on individuals—”the collateral damage,” as one contributor says—and the conspiracy of silence that keeps these acts hidden and unspoken. And, just as importantly, I want them to feel a sense of hope, too. I want them to feel that breaking the silence is a powerful thing and can inspire change, but that we must not be complacent.

There are Harvey Weinsteins in every industry and walk of life, and change will only be possible with true openness and accountability, with men and women coming together to make abuse unacceptable. I also really hope that young people, like my two sons and my nieces, will watch the film and feel inspired to create a very different new world, where you feel empowered to speak out against any kind of abuse and you feel your voice will be heard.

W&H: What was the biggest challenge in making the film?

UM: Without a doubt, the biggest challenge was getting industry insiders to go on the record. Our team, led by producer Poppy Dixon, spoke to hundreds of people. Many gave us invaluable insights but felt they couldn’t speak publicly, for reasons we respected. Many were too frightened to speak at the time, and many still are, feeling they have too much to lose.

That’s why I cannot express enough thanks to the people who did take part; it’s only through their courage and candor that we were able to tell this story.

W&H: How did you get your film funded? Share some insights into how you got the film made.

UM: “Untouchable” was financed through a pre-sale to the BBC and an equity investment, and then pre-sold by our sales agents, Embankment Films, to theatrical distributors in 20 territories at Cannes last year.

W&H: What inspired you to become a filmmaker?

UM: I used to make little Super 8 movies with a friend when I was around 12, silly comedy sketches where I caught the directing bug. Then, when I was a student, I lived in Paris in a neighborhood where there was a cinema on every corner. That’s where I had my film education and experienced the magic of sitting in a darkened room and watching a story unfold—whether the work of Billy Wilder, Martin Scorsese, Claire Denis, Akira Kurosawa, and many others.

In terms of documentaries, I was inspired by the work of two British filmmakers, John Akomfrah and Brian Hill, whose work made me realize that documentaries could be lyrical and poetic as well as gritty and authentic.

W&H: What’s the best and worst advice you’ve received?

UM: Best: “Don’t stick to the brief; do better than the brief.”

Worst: “You’re not ready to do that yet.”

W&H: What advice do you have for other female directors?

UM: Don’t let anyone tell you you can’t. You can. Don’t be too polite and don’t be afraid to bother people. You do need to thicken your skin—which I’m still learning—but embrace your vulnerability and sensitivity too. Those are your superpowers.

Remember that you can’t do it alone, so find your squad and nurture them. Look out for other women, and give young women breaks and responsibilities. Find out what your male counterparts are earning, and demand the same!

W&H: Name your favorite woman-directed film and why.

UM: I love all Jane Campion’s films, but “Bright Star” is my favorite. It must be very difficult to make a non-verbose film about a poet, but she pulls it off with this luminous, cinematic, and heart-stopping film about John Keats.

But I also have to mention two of my all-time favorite films: Amy Heckerling’s “Clueless” for its sassy-girl wit, and “Little Miss Sunshine,” co-directed by Valerie Faris, for its beguiling combination of hilarity and pathos.

W&H: It’s been a little over a year since the reckoning in Hollywood and the global film industry began. What differences have you noticed since the #MeToo and #TimesUp movements launched?

UM: During this tumultuous year, many positive things have happened in our industry—there are now more women directors and producers working in both film and television, and there are more women being recognized at awards ceremonies. Thanks to the pioneering journalism of The New Yorker, The New York Times, and others more men in powerful positions in the media have been outed.

But it’s also been a year in which there’s been a backlash against #MeToo, in which Weinstein’s legal team have managed to get some of the cases against him dismissed, and in which a man accused of sexual assault was sworn in as Associate Justice to the U.S. Supreme Court. It feels like we—men and women— are in the middle of a huge and perplexing conversation in which we’re still searching for answers.

How do we conduct our private and public lives? Will there be a reckoning? Is justice possible? Will meaningful change happen for the less powerful, both within the film industry and outside it? It’s my wish that our film will add something to that conversation.