Whether McKenzie will continue to be able to make cinema in her own paradise of Nova Scotia is a question that doesn’t even need to be asked
floored audiences during its TIFF premiere. A devastating drama about a pair of drug addicts as they meander across the island, killing time and mowing lawns between their next gulps of methadone, the microbudget social-realist masterpiece was delivered with a sharp eye, a stunning vision, and a sense of control that was remarkable.
“Once you get that first feature out, you look at your life and say, ‘This isn’t sustainable.’ Filmmakers do other jobs, don’t pay themselves, take on every job possible to get a film to completion,” McKenzie says in an interview. “I feel the path that most people take is to integrate commercial work, or work in one of Canada’s main cities. But if you are a regional filmmaker, trying to transition into a sustainable career is hard.”and McKenzie’s follow-up feature: the new dual-character study,.
Zheng’s character, meanwhile, wasn’t based on someone else – it was an extension of their own life spent navigating gender identity and the startling nuances of making a life for yourself halfway around the world from your home. A “co-created” character, in Zheng’s words, developed in collaboration with McKenzie.
Whether McKenzie will continue to be able to make cinema in her own paradise of Nova Scotia is a question that – for her and for the moment – doesn’t even need to be asked.
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