Meredith Danluck has exhibited at the Liverpool Biennial, Reina Sofia Museum, MoMA, PS1 Museum, and Venice Biennale. Her short films, feature documentaries, and experimental films have screened at a number of festivals and museum venues such as Sundance, Toronto International Film Festival, and SXSW. Her credits include “Earthworks,” “North of South, West of East,” and “Art Hard.”

“State Like Sleep” will premiere at the 2018 Tribeca Film Festival on April 21.

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

MD: “State Like Sleep” is like a classic noir, ’80s American abroad psychological thriller with its guts spilled out. These muscular genres it borrows from serve to house the ephemera emotional depths of grief.

W&H: What drew you to this story?

MD: Years ago, someone very close to me took their own life and I held myself responsible in many ways. The feelings of complicity and guilt were overwhelming — and completely illogical. Looking outside myself for answers and explanations meant I could create a story about what happened, one that excluded me. I needed to tell myself a story to make sense of what had happened, which is what Katherine does in “State Like Sleep.”

This process of grieving is not unusual or unique — Joan Didion speaks of this very same thing in her book “The Year of Magical Thinking.” She talks about this feeling that if one properly explains it and find a target of blame, a death feels like it can be magically reversed. The film explores this impulse we have to reorder the narrative of what we’ve experienced when the experience is inexplicable. The most inexplicable mystery in life is death so I appropriated the mystery genre to serve the deeper narrative of grief.

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

MD: I love the feeling of leaving the theater and adding up all the pieces, discussing scenes with friends, having a line or two haunt you the next day or even days later. I don’t necessarily believe that films are the ideal forms of singular messages. As David Lynch always says, ‘If you want to send a message, use Western Union.”

I do believe, though, that film allows us a deeply complex, emotional experience that broadens our understanding of the world, of people, and ourselves.

In many ways, this film is about recovering from the trauma of sudden loss and allowing love back into one’s life. If people leave the theater somewhat more open to allowing love into their lives then that would be amazing.

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

MD: Oh man. Making a movie is nothing but challenge every step of the way.

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

MD: Sightunseen Pictures financed the film and it was just kismet. I met Julie Lebedev and Angel Lopez on the mezzanine of the Ace Hotel in Downtown LA. My first impressions of Julie were, “Wow, she’s so gorgeous and smart and down to earth.” And there was Angel by her side, who is literally named Angel, and is kind, open, and welcoming.

We had a great conversation about the script, and were creatively in lockstep. I left that meeting thinking, “I feel like I’m going to make bunch of movies with them.” “State Like Sleep” is number one of what will be many. I am lucky to have had producers I can truly claim as collaborators and friends.

W&H: What does it mean for you to have your film play at Tribeca Film Festival?

MD: I lived in New York for many years. Each year when the festival was on it felt like the city transformed. This year is particularly extraordinary because I can’t think of another festival that has had this level of gender equality. This year’s festival has 44 percent women directed films. 44 percent!!! This is almost equal and that is huge. I am beyond proud to be a part of that sea change.

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

MD: The best advice I ever received was at the Sundance Director’s Lab. Kathryn Bigelow told me, “Make the movies you want to watch.” So simple. So true.

The worst advice I ever got was on the very first commercial job I was bidding on. The client liked my treatment and wanted to get on a call. Before we got on the call the producer suggested he do most of the talking to “put them at ease” since I lacked experience. Later we heard from the agency that I had not been awarded the job. They felt I wasn’t very “additive” on the call. Now, I boss every god damn call I’m on like I already have the gig — and it works!

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

MD: The advice I would have for female directors is the same advice I’d have for male directors which is to listen to your instincts because that’s the job description. When something doesn’t feel right, look right, sound right, it’s not right — no matter who is trying to convince you it is.

I guess if there were any gender specific advice, it would be to heed that advice twice as hard since people often underestimate and question the convictions of women.

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

MD: Easy. “Point Break” by Kathryn Bigelow. This is a film I watched over and over as a kid. I never realized it was directed by a woman until I myself had started directing. I remember looking at the back of the DVD scanning her name like it was some secret code: “K-a-t-h-r-y-n. That’s a woman. Whoa.”

I love “Point Break” because it’s a great movie. It’s entertaining, the characters are fleshed out, real people, the story is compelling, and it’s funny and soulful. It’s big and bold and still has a heart. Not to mention totally iconic and quotable.

W&H: Hollywood and the global film industry are in the midst of undergoing a major transformation. Many women — and some men — in the industry are speaking publicly about their experiences being assaulted and harassed. What are your thoughts on the #TimesUp movement and the push for equality in the film business?

MD: It makes sense to me that the film business would want to diversify its storytelling purely from a numbers standpoint. If a great story is defined by its originality and distinct point of view, wouldn’t expanding those points of view to be more inclusive be good business? Makes sense to me. I’m happy to see the ground shifting.

Hopefully there’s action behind the bluster and talk and more women will get the same opportunities that men do in this industry since the numbers are still pretty dismal. Only four percent of films in the last 10 years were directed by women and of those, leading ladies rarely drive the action. Out of the top 100 films of 2016, only 34 had a female lead. These statistics are important to remember in these times when everyone is talking about gender equality.

Although it feels like things are changing, we’re still quite far away. We need to hold the industry accountable — as does everyone in every industry. Hollywood is always in the spotlight as that is its nature, but we are part of a what could be a global shift in awareness about the biases and unfair working conditions that all women and minorities face in every industry.