Resonance in the Castle, 17min., USA
Directed by Brandon Katcher
A mysterious castle breathes with light and color, drawing all who enter into its shifting embrace. Stained glass spills vivid hues across ancient stone, golden reflections dance over strange artifacts, and ethereal performances flare up like living paintings. Surreal, electric, and unbound by space or time. Musicians, dancers, and performance artists bring their visions to life, each performance casting a ripple, before fading into the ether. A place of mystery and spectacle, this living museum exists only in the moment it is seen, leaving behind only echoes. Here, the castle is not a place but a state of mind, a dream in motion, inviting us to lose ourselves within its walls.

Get to know the filmmaker:

1. What motivated you to make this film?

The opportunity to make Resonance in the Castle came at a key moment in my life, when I felt directionless and depleted. I had just wrapped a grueling, two-year documentary production, and like so many filmmakers, I found myself in that fog of burnout and uncertainty. What's next? And then, pure coincidence gave me the opportunity to join an artist residency in a century-old castle in Italy. I traveled there with only a few basic ideas, the glimmer of a story. But through collaboration with musicians, dancers, sculptors, and actors from around the world, a film was born through the freedom of creating without expectation.

2. From the idea to the finished product, how long did it take for you to make this film?

Not knowing what to expect from the location or the artists involved, I arrived in Italy with only basic ideas and visuals in my head. Once I was able to see the castle in person and meet the artists, those ideas became collaborations, and the scenes took shape. Each artist had a plan for their live performance, which we adapted for each room and scene. The actual filming took place over two days and became an improvisation as I learned to "dance" with each performer. During the week in the castle, we also performed live in front of an audience and filmed a documentary of the event. Once I returned home, the editing process took about two months.

3. How would you describe your film in two words!?

Dream in Motion. I know it's technically three words, but for me it encapsulates the mood and echoes from within the castle.

4. What was the biggest obstacle you faced in completing this film?

Honestly, the filming was the easy part. Everything came together very naturally, and we didn't need to force anything—besides battling the intense heat in the castle and constantly climbing six flights of stairs over and over. During the edit, the hardest aspect was the sound design, especially in the basement. The acoustics were rough, and the floor was covered in sand, which made moving while filming a very noisy endeavor. That audio track definitely required a lot of cleanup. The narration was also added in the later stages, when we realized we needed just a bit of grounding to give audiences something to latch onto.

5. What were your initial reactions when watching the audience talking about your film in the feedback video?

With an experimental film, you leave much of the interpretation up to the audience. So it was great to hear different perspectives on what they believed the film was "about," what it meant to them, and what emotions it evoked. I am primarily a documentary filmmaker, so being able to create something truly abstract and dreamlike, and then experience all the different reactions to the work, was humbling.

6. When did you realize that you wanted to make films?

I was lucky in that I knew what path I wanted to take from a very young age. I made my first film in the 8th grade, affectionately titled Attack of the Killer Mutant Worm. And have stuck to that path for the past 25 years, for better or worse. But it always creates adventures in my life, so I can't complain!

7. What film have you seen the most in your life?

Besides my own film (which I always end up watching 100 times during post-production)? I am drawn to films that create moods, worlds, and auras: Apocalypse Now, The Fall, Tron (both). Visual and sound design is often more important than script to me.

8. What other elements of the festival experience can we and other festivals implement to satisfy you and help you further your filmmaking career?

The Experimental Dance and Music Festival has given far more feedback and transparency than I have experienced with most, which has been great. Most festivals are closed circuits, and you never know what to expect, if anything, when applying. You almost never receive feedback or communication above the bare minimum, which often makes the process feel soul-crushing. So thank you for making filmmakers feel like they are a part of the process. I would be honored to work with this festival again.

9. You submitted to the festival via FilmFreeway. How has your experience been working on the festival platform site?

I have submitted five films to FilmFreeway, and to Withoutabox before that, starting about 15 years ago. I would say it has been of varied success. The festival process can have its ups and downs, and the transparency of most festivals is definitely lacking. But the website itself is well put together and clear.

10. What is your favorite meal?

Dim sum, or really any kind of dumpling, makes my day.

11. What is next for you? A new film?

I am currently in pre-production for a documentary series called Colors of the Spectrum, offering a window into the experiences of neurodivergent students as they create something remarkable. Set within Autistry Studios, a groundbreaking therapeutic makerspace for autistic teens and adults, we hope to challenge perceptions and encourage audiences to step outside their own boxes and color outside their own lines. We will commence filming in October of this year, and more information can be found at www.colorsofthespectrumfilm.com.