pinch me

Writer's Statement

I met the four actors who were to be at the centre of this film in July 2020. Slowly an idea began to take shape that embodied all our fears. Four university students, played by four university students, would share their dreams, in the style of the Decameron. Each dream would be a vision of a future, of lives spent, in empty cinemas, call centres, endless video calls, at the edges of functions, re-encountering old faces that no longer knew us, always feeling like they hadn't made it. Except for the fourth student, central to all their dreams, whose departure from the comfort zone of the group was imminent. It was a mysterious premise, and enchanted us all. The extraordinary art cinema of the 1960s - Hiroshima Mon Amour and Persona - were early references. Equally though, so were the dialogue rhythms of Aaron Sorkin. The film language of dreams is a wonderful thing. Looking back on the film, it's surprising how many touchstones slipped into the work. Some we knew about, like 2046, Tinker Tailor Soldier Spy, Arrival, Malick and I am Love. Others snuck in undetected, like Last Year at Marienbad, Lynch and La Jetee. Rasmus's work as cinematographer is exceptional, proof if any was needed of the thoughtfulness of his aesthetic. From the light of consciousness that hovers above their heads of each dreamer to the complex balance of symmetry and asymmetry within each scene, he brought so much to this film. Emily's work as designer - aided by Taleece and Nichola - compliments all the locations. The library as realised on screen is a major achievement by that team. Jesse Watt's music is a major work, navigating the diegetic barrier with agility and finding the right balance of momentum, scale, intimacy and mystery to each moment. As an editor, I've never been more blessed with material, and able to bring together ideas about storytelling, montage rhythm and sound/music design. Above all, I thank the actors. For their openness to be themselves on screen, and yet somehow also be the many other people they had to play as well. They were wonderful allies, in particular through the long journey of audio post-production. As this film was gestating, one of the few major cinematic releases of 2020 exhorted its audience - 'Don't try to understand it, just try to feel it'. It was not always clear that - remarkable though it was - the film in question played this thought out, and we were compelled to hold to this mantra ourselves. I feel this is realised in the work. The exact meaning of Pinch Me may differ depending on who the viewer is, but whatever that meaning is, they will feel it.