films

My films are small on purpose. Tension at a dive bar. A road trip that wrecks a relationship. An argument that should've ended two lines ago.

I work backwards. I start with people who feel real and wrong in some way, then push the actors past the obvious beats until the small, true gestures show up. I want sets that look used, with coffee rings and broken book spines, because production design sets the tone before anyone opens their mouth. And I'll fight over a color shift or a cut that lands a beat late, because either one can flip what a scene means.

I'd call the style tropical noir with some grounded absurdism mixed in. The people in my films are fragile and vicious at the same time, and I want you close enough to the screen that it stings a little. The films don't always land the way I want. I keep making them anyway.