First Time Go

The career path -- M.S. in Neuroscience to filmmaking -- is a wholly original one and so is his filmmaking. His second feature, PONDEROSA (2026), is a comedy-horror film that looks at American masculinity in a way I've never seen before. It is a gift to watch -- beginning to end -- not because I understood everything going on, but because I didn't.
The best type of filmmaking should challenge you and make you think differently about the world around you. Mission accomplished here by Rob, with brilliant actors by his side. I'm texting my friend with a neuroscience degree, telling him to get on over to Tribeca and make a film!
In this episode, Rob and I talk about:
going from CRISPR engineer to filmmaking;
how PONDEROSA came about and the trickiness of describing the film;
what his experiences at prominent film festivals taught him;
how he got some of the best actors out there -- Bill Camp; Alexis Bledel -- to work on his film;
how he did the score and music FIRST and then edited accordingly;
how he balances directing and producing;
what's next for him.

Rob's Indie Film Highlight: THE MISCONCEIVED (2026) dir. by James N. Kienitz Wilkins
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Very rarely, you'll watch a documentary, and think...how did he get that all on film? That was the case for me and the film MOUTH FULL OF GOLDS (2026) premiering this week at the Tribeca Film Festival. It's about "grillz" -- the teeth attachments/implants and their cultural connection in New York City, Miami, Atlanta, and Paris.
If that description sounds incredible, that's because the film is incredible. Director Lyle Lindgren joins for me the pod and traces his history from car salesman to his first film festival here in New York City.
Grillz or not, you'll want to be on this ride.
In this episode, Lyle and I talk about:
the insular community of "grillz" and how he was able to make this film;
how did he get into filmmaking -- it's an absolutely crazy story ("I always thought I'd be a car salesman");
what his previous films taught him about making MOUTH FULL OF GOLDS;
his many jobs on this set -- what jobs did he like the most and least?
how they casted for this film and their philosophy for re-enactments;
why Tribeca and what New York City means to him;
how he approaches going to the festival as a producer versus coming from a working class background to his first film festival!;
what's next for him.

Indie Artist Highlight: Pouria Khojastehpay
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MONOMANIA Production Company

The journey from Yugoslavia to New York City is a wild one, and filmmaker Branislav Jankic has been a keen observer along the way. Coming off a debut feature that was released at the height of COVID, Branislav is now at the 2026 Tribeca Film Festival with a story about his wife called WHITE BELT (2026). The film traces the journey of supermodel Monika "Jac" Jagaciak from the runway to Brazilian Jiu-Jitsu (BJJ). It's a tight, accomplished film that shows what he's learned about the process, and it was so cool for him to explain how he made such an exciting and personal film.
In this episode, Branislav and I discuss:
the tight runtime for this film and how he was able to condense so much into the film;
how he got involved in filmmaking -- going from Yugoslavia, Germany, all the way to Tribeca;
why he's able to tackle topics like " addiction, fetishism, and the complexities of identity";
his debut feature, THE WITCH'S CAULDRON (2020), and what he learned from it;
what WHITE BELT is about, in his words;
why he didn't mention himself in the film and his advice for filming when you're married to the subject;
why Tribeca and what's next for him.
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Every Sunday, I'll post a quick video -- and podcast -- about an indie film from at least a year ago. Today's film: OUT OF LOVE (2025)
Director: Nathan Ambrosioni
Writer: Nathan Ambrosioni
Stars: Camille Cottin; Monia Chokri; Juliette Armanet
SYNOPSIS
A woman is forced to take care of her niece and nephew after their mother voluntarily disappears.
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The podcast concludes this unreal Cannes Film Festival series with Lightdox founder and CEO, Anne Berthollet. Lightdox has consistently championed stunning documentaries, like GABIN (2026); FLOPHOUSE (2025) and so much more. How is the company able to find such amazing documentaries? What happens when Lightdox grows -- will they be able to maintain their quality offerings? And what is her advice for aspiring documentarians?
See you next year, Cannes!
In this episode, Anna and I discuss:
why she founded Lightdox;
her slate at Cannes and why Lightdox chose these particular films;
the process in selecting her films and what she is looking for;
their sales and distribution strategy in the current market;
is there a redline for films and sales where Lightdox *won't* go?
whether she'll be able to maintain the high quality of Lightdox's slate as the company expands;
how she feels about true crime docudramas in the documentary space;
how documentary filmmakers are surviving right now;
what it's like being at Cannes as a Swiss film company;
what's next for Lightdox.
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Lightdox