Making friends can be easy…unless you happen to be the central character in Radwanskian cinema. In Toronto-based filmmaker Kazik Radwanski‘s third feature film, we find that social woes and discomfort often leads to more engagement and further change for its titular character. Anne’s unprovoked and unannounced meltdowns come accompanied with a sort of languid insular deftness — here Anne (played with magnetism by filmmaker-actress Deragh Campbell) meets the uncharted future dead on and sans censorship, shame or perhaps a parachute. A third feature (following 2012’s Tower (2012) and 2015’s How Heavy This Hammer) in less a decade, Anne at 13,000 had its world premiere at TIFF and competed in the Platform section and is currently riding the film festival circuit (Cinema Guild just landed U.S rights to the drama). I had the chance to sit down with the filmmaker discuss the economic design of the feature, how time away from the project helped inform performance and the how the editing process ultimately contributes to the film’s unrelenting energy.