NZIFF Q&A 2021 - Annie Goldson, A Mild Touch of Cancer

How's your 2021 been?

A mixed bag like for many of us. I think a lot depends on the nature of one’s work, but I’ve been busy as I was already in the online work space pretty much. So no making sourdough for me but I’ve been isolated from a couple of loved ones in care, so that has been tough as they can be frightened and lonely and their plight doesn’t get much attention. 

In terms of filmmaking, we had to dodge and weave around lockdowns but were pretty lucky actually. I was shooting in the US with David in Feb 2020 just as the walls went up so we had to hotfoot it back to Aotearoa. Then we had literally just finished the final rough cut edit this year when the new lockdown began, but we were able to the online/mix remotely with Department of Post, who were great. But that meant me having to watch all three versions of the film many, many times. So yep, I’m pretty saturated. 

With teaching at University of Auckland too, we sped online without much warning so I have mastered the art, I think, of audio stripping Powerpoints. But my students have been pretty great and adaptable. 

And of course, now we have the Auckland leg of NZIFF being cancelled which is wholly understandable – but looking forward to it showing in cinemas around the rest of the motu and hopefully some special screenings with NZIFF next year.

Give us the elevator pitch for your film in 10 words.

If you are saved from dying, how do you live?

The one moment of your film that stands out

There are quite a few really: the emotion and honesty of the Robins family at recalling their loss; the gorgeous young couple Mile Nafatali and Jade Scandrett-Huriwai who had only begun dating one week before his diagnosis with lymphoma; and Kirsty’s anxiety about the future of her son losing his only parent – but maybe the moment should go to the ‘man of the moment’ David Downs.

 I filmed him addressing an audience in a TED-style talk and he recalls the moment after he is given some horrible news: ‘So my doctor said maybe it’s time I should consider a hospice, or go home and get my affairs in order …. The problem was I wasn’t having any affairs. I mean there were plenty of nurses around, but Katherine was always there … but you don’t want to know.’ (Better to see it than read it of course as his timing is spot-on).

The one moment of your film that you wish you could have changed

I’m not going to tell you that!

The one moment of your film that you think audiences will connect to

I think all of our subjects are relatable – plus we mostly all know someone who has had cancer so I think/hope that will be a lot of connection throughout the film.

The one moment of production during a Covid world that saw you enraged by the pandemic

Mile, a young Māori/Pacific man, has struggled with COVID throughout the progression of his disease and its treatment. He spent his first round of chemo in lockdown with his mother sleeping on the chair by his bed in hospital. In isolation, unable to see his large whānau. COVID has continued to plague him, and after he was accepted into a life-saving programme in Melbourne (given all his ‘first line’ treatments had failed) again the walls went up. Air NZ cancelled flights and Melbourne demanded hotel isolation. But the progression of his disease was very rapid and he couldn’t afford any delays. I’ll let you see the film to see how this was resolved but it underscores how people with other difficult diseases continue to be impacted.

What's next for you?

I’ve shot a film on the radical theatre troupe Red Mole, active in the 70s and 80s, an overlooked and highly influential troupe that knocked my socks off at the time. We shot in NYC, Mexico and Aotearoa and have one more interview to do remotely in Puerto Rico. 

So I’m just figuring out how to edit it. I’ve also gotten a few more new ideas percolating but will just wait and see what rises to the top. But I’m quite keen to have a cup of tea and a lie-down too.

The one film from the 2021 New Zealand International Film Festival that everyone should see - apart from yours

I’m looking forward to everything (if I could) but Flee would be up there, and all of the works from Aotearoa of course.  

We’re already talking to the festival about screenings of the feature once the cinemas are open again (COVID-willing), so I look forward to the big screen experience with an audience which is the fun party-thing that happens after the mahi of making a film. 

Roll on 2022.