With a fascinating professional roadmap as a filmmaker, choreographer and teaching artist, Sarah Friedland is set to launch her feature debut in 2024. Produced by Alexandra Byer — Sollers Point (2017), Colewell (2019), Funny Face (2020) and Noah Pritzker’s just preemed San Sebastian Film Festival title Ex-Husbands) and Matthew Thurm (2014’s H. and 2020’s Sylvie’s Love), Familiar Touch might address cognitive decline related to dementia, but its not a film that is solely about subtraction as it sheds light on what might be gained and both usurps the coming-of-age film format and tackles conventions of ageism. I had the chance to speak to Sarah Friedland in Wroclaw.
While the eco-system remains inherently delicate, the American micro indie film scene thrives, and IONCINEMA.com will highlight this vitality in our comprehensive interview series. We will trace the journey of films through in-depth conversations with the filmmakers and producers responsible for their creation, focusing on the eight projects chosen for the 2023 U.S. in Progress, a part of the American Film Fest in Wrocław. Throughout our year-plus coverage, we’ll delve into the evolution of these original works, from the post-production phase to picture lock and ultimately to their premieres at film festivals. Among the class of ’23 we find Tyler Taormina‘s Christmas Eve in Miller’s Point, Cutter Hodierne‘s Cold Wallet, Sarah Friedland‘s Familiar Touch, India Donaldson‘s Good One, Edson Jean‘s Know Me, Albert Birney‘s Obex, Morgan Krantz‘s The Water is Always Warm and Anu Valia‘s We Strangers.