Upsodown, directed by Nathan Ceddia, is a compelling exploration delving into the intricate relationship between humanity and nature. The film immerses the audience in surreal worlds, guiding them through a captivating journey that underscores the profound disconnection between humans and the natural realm. Ceddia’s cinematic creation serves as a poignant reminder that all living entities share an interwoven existence, emphasising the interconnectedness of life.
Niccolò Montanari:Upsodown explores the disconnect between humanity and nature in a surreal yet deeply resonant way infused with nostalgia. To get a sense for how you conceptualised this universal yet personal exploration, can you share with us any of your own experiences or prominent moments during the process that inspired you to delve into these meaningful themes and how these influenced the film’s narrative?
Nathan Ceddia: Creating a film is a journey of connecting dots, starting with a direction and remaining open to the paths that follow. As you become aware of your vision, opportunities begin to emerge, presenting themselves like ripe fruits on a tree. You gather what you require and revisit it as necessary. It began with a vision, brought to life through imagery. These images sought fitting locations, places embodied with depth and emotion. And then, slowly, words emerged, unveiling the essence of the scenes and binding the film together as one. Such a process naturally weaves its own narrative; my role is merely to assemble the pieces and provide room for it to evolve into a film.
NM: The upside-down shots featured in the film bring an intriguing layer to the narrative, adding to your vastly creative visual aesthetic captured on 16mm and 8mm film. How did collaborating with Ellery Ryan Jnr influence these decisions and did you find shooting on film contributed to successfully being able to portray the poignant theme of disconnect as well as those uncomfortable elements of human existence and our slightly obstructed view of our surroundings?
Shooting on film is inherently honest; it demands delicate handling. Without care, it loses its essence, hiding its true colours. A delicate story requires a medium that resonates, fostering depth in your story. Working with Ellery, we learned to slow down mindful of every action, and take. Film granted us this welcoming opportunity, enabling us to narrate an important story with nurturing care.
NM: Writing the script for Upsodown seems to have been a deeply introspective process for you. Each phrase seamlessly blends into the next reflecting an inner consciousness that contributes to the complexity between humanity and nature. Can you share how the writing process uncovered your own reflections and how this set out to challenge the audience on the wider issues around sustainability that the film communicates so well?
NC: Years ago, I dreamt of a journey of self-reflection, a person enveloped by a world of mirrors. When gazing into a mirror, one confronts their own reality, their appearance and their self worth. Through reflection, we become aware of our actions, we shape how we wish to perceive ourselves. Our journey always reflects back on us; as we face the mirror, we assume responsibility not only for ourselves but for the world we inhabit.
NM: The isolated footage of the subjects in the film against vibrant, saturated blocks of colour, unique to each one, heavily contrasts the stunningly captured rural settings and naturalistic landscapes. These bold visuals really draw us into a more concentrated and surreal look at humanity, and in turn ourselves. Can you discuss these striking and conflicting aesthetic choices, and how such visual contrasts enhance the narrative of the film whilst emphasising an ongoing disconnection between humanity and the natural world?
NC: Colour surrounds us, defining, persuading, and evoking emotions. It’s not merely seen; it’s interpreted and felt. When we infuse spaces with colour, we set a tone, adding layers and depth. Colours shape our feelings, and thoughts, and leave lasting impressions, exciting our senses. They reflect the essence of the earth, highlighting its beauty and importance.
NM: Reflecting on your experience both filming and editing Upsodown and the collaborations you made for the film, how do you think this project has now influenced your creative approach to future filmmaking? In what ways would you say it has perhaps allowed you to express your artistic voice more honestly and authentically?
NC: Upsodown became an unexpected journey of self-discovery, revealing layers of creativity I didn’t know existed within me. I approached it with honesty and vulnerability, leading to a story and visuals I could have only imagined. This experience has opened me up to a distinct inner voice that everyone possesses; all it takes is a moment to self-reflect and listen.