Interview with Director/Producer Michael McLennan
Pinch Me was inspired by the void we all looked into in 2020. Passports became marks of death, our economic futures were suddenly exposed as empty, and it became quite apparent that it might not work out well for all of us. Our time deserves new attempts at Decameron, and the stories people tell should expose the insecurities of our time.
In a library, on the night before a university student leaves for a new life, her friends share their dreams. As each tale emerges, her premonition grows that something is not right.
Rasmus’s work as cinematographer is exceptional, proof if any was needed of the thoughtfulness of his aesthetic. From the light of consciousness that hovers above their heads of each dreamer to the complex balance of symmetry and asymmetry within each scene, he brought so much to this film.
It was a mysterious premise, and enchanted us all. The extraordinary art cinema of the 1960s – Hiroshima Mon Amour and Persona – were early references. Equally though, so were the dialogue rhythms of Aaron Sorkin. The film language of dreams is a wonderful thing. Looking back on the film, it’s surprising how many touchstones slipped into the work. Some we knew about, like 2046, Tinker Tailor Soldier Spy, Arrival, Malick and I am Love. Others snuck in undetected, like Last Year at Marienbad, Lynch and La Jetee.
(‘ I KNOW WE’LL MEET AGAIN’)