After her father's funeral, a woman walks out across the snowfield behind the family farm and keeps going, unsure what she is looking for.
The Long Field is Offscreen's own short, written and directed by Yuna Sato, and the most patient thing we have made. It has eleven lines of dialogue. Most of the story is told by distance: how far the woman is from the house, and how small she becomes against the snow.
We shot over twelve days in February, with a crew of fourteen and a snowcat to move the kit. Ama Boateng chose a large-format sensor and a pair of long primes so the figure could stay tiny in frame without losing detail, and exposed for the snow, letting faces fall where they fell. Interiors at the farmhouse were lit only by table lamps and the window, which became the subject of our journal interview with the two of them.
Hester Vane kept the costume to a single note of red so the figure reads at any distance. Tobias Wren recorded wind and footsteps on location and built the rest of the soundtrack out of silence.
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