In a world that is fast-paced — where humans are expected to do more, absorb more, hustle harder, and take in as much information as possible — there’s a small but growing group of us who’ve cottoned on to something: in the end, stillness and slowing down might actually be more productive. More grounding, more interesting, and better for us overall.

And when it comes to storytelling, filmmaking, and the films I choose to watch, I feel the same way.

Give me long, quiet shots of absolute “nothingness.” Characters sitting in silence, looking out over cliffs, quietly applying makeup, moving through their room looking for a favourite pair of shoes. Couples glancing at each other with nothing left to say. And my personal favourite – Rooney Mara eating pie on the floor for six uninterrupted minutes — no music, no camera movement, no sound design — just grief, just time, just presence.

Sometimes I wonder if indie filmmaking is worth the hassle. Every Monday I do accounting, updating spreadsheets, tracking the business expenses and sales. Almost every week there are columns marked in bold and red — money still owed. Sometimes these owed columns don’t change for months. Sometimes years.

As I write this, I have been emailing IndieFlix since October 2023, chasing payments owed since 2021. These payments are pennies, under $100, but since their policy is to payout every quarter if earnings are above a $1 threshold, I think it is fair to expect the license agreement we signed to be honoured.

IndieFlix is a funny one. We have two films with them, Friends, Foes & Fireworks and Daughter, going back to the start of 2019. In the beginning they reported and paid on time every quarter and our films would earn a small amount on their platform, barely over three figures. But then one year into the deal a funny pattern would begin to emerge: every quarter like clockwork they would still send the reports but always forget the follow-up part… actually paying the money owed.

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