MARGOT follows the inner journey of a young woman struggling to reconnect with reality as she delves through layers of her subconscious and key moments from her childhood. A careful blend of music, dance and striking imagery, this film takes a unique approach to the narrative form by twisting it around the finger of poetic surrealism. Inspired by notable modern dance choreographers, Pina Bausch and Anne Teresa De Keersmaeker, MARGOT uses music and contemporary dance as a means to motivate our protagonist through her narrative. Though abstract, this is not a purely experimental piece, but rather a well-balanced hybrid of experimental and narrative storytelling. The film opens on Margot dancing frantically in an empty theatre accompanied by a violinist. She is met by a young boy named Jacques who takes her through various memories from her childhood. Time is nonlinear as Margot and Jacques contemplate their lives, moving from one location to another caused only by the touch of a hand, spark of a lighter, or push of a door. At it’s core, MARGOT is a film about caring for oneself, caring for others, and caring for life in spite of the struggles one may face.
Before finding my voice as a director, I was a formally trained dancer, artist, and musician. When a knee injury ended my contemporary dance career, I decided to turn my creative attention towards film, as it is a natural blend of music, movement, and image design. Influenced by my background as a dancer, I visualize narratives first through movement, then through cinematography, and so it only felt natural to incorporate dance with MARGOT. I do not normally write a script for my work, but instead piece images together like a sequence of movements, never quite knowing what will come next. To write MARGOT as a linear narrative was therefore a new experience for me; everything has an answer and nothing is a coincidence. I see this film as an invitation for audiences to reflect upon their memories and to delve into the mysterious beauty of their own subconscious.