Lucas
Boger

In this exclusive interview, Lucas Boger discusses his journey as a filmmaker and his short film Somewhere Between, a semifinalist in the Best Experimental Short category at Experimental Brasil.

Inspired by his grandmother’s decade-long battle with Alzheimer’s, the film explores themes of memory and identity through an experimental and sensory lens. Boger shares how he crafted a unique cinematic experience, combining carefully chosen locations and a talented post-production team to create an atmosphere between the familiar and the ethereal.

He also highlights the importance of experimental cinema in challenging storytelling norms and sparking fresh perspectives. Somewhere Between is both a tribute and an invitation to reflect on the complexities of human experience.

 

1. To start, could you introduce yourself and share a bit about your journey as a filmmaker so far?

 

I am a filmmaker based in the United States. I grew up in North Carolina, and as far back as I can recollect, I’ve always loved movies. I received my Bachelor of Arts in Film Studies, and am currently enrolled in a MFA program with a focus in creative producing. I’ve worked in positions on independent films as either a 1st or 2nd Assistant Director, but this was my first formal opportunity to step into the role of director and bring my own script to life.

2. How would you describe your style as a filmmaker? Is there a theme or approach you consider central to your work?

 

I would say that my style is ever evolving. In terms of my approach, I stay true to what is in service of the story. It’s hard to make a movie, and it’s even harder to make a good movie. But I believe that staying true to the central idea of that specific story yields the most authentic result.

3. Your short film Somewhere Between was a semifinalist in the Best Experimental Short category at Experimental Brasil. What inspired you to create this piece?

 

It’s an honor to be selected, so thank you. This piece is inspired by, and dedicated to, my grandmother. She battled Alzheimer’s for the better part of a decade. It’s a cruel disease, and I wanted to convey the fear she must have felt in moments, while also honoring her as her own autonomous self, and not just through my connection to her.

4. Memory and identity are deeply intertwined themes in Somewhere Between. How did you approach exploring these ideas through an experimental lens?

 

It’s difficult to put in words. Much of these ideas manifest from a single image or a feeling. And then you start to explore that image or feeling, and what came before and what comes after, and why.

5. The film presents Alzheimer’s in a context that feels almost metaphysical. What motivated you to explore this condition from such a unique perspective?

 

Filmmakers approaching a story centered around someone with Alzheimer’s is nothing new. But those stories are more about how the people around that individual are affected. I wanted to place the tragedy of it all internally through the mind of someone battling this disease.

6. Translating abstract concepts like memory loss and existential liminality into cinematic language can be challenging. What were the biggest creative obstacles you faced in this process?

 

I feel very lucky in that I didn’t face many obstacles through the process. If anything, it was trusting myself with this idea. When I wrote it, I had specific locations in mind that I was able to use once it came time for production. It was all quite special how things aligned themselves. I had such wonderful support from the Kaplan-Loring Foundation, and from my cast and crew. I’m very grateful because not all creative endeavors run as smooth as this project did.

7. Experimental work often demands a different kind of collaboration with actors. How was your experience directing the cast, especially in shaping the portrayal of a woman with Alzheimer’s?

 

Casting can be a challenge, and since this project had no dialogue, it was all based on the look. With having child actors, it’s always an exercise in finding the best way to bring out the performance that you’re after, but they just went above and beyond, and responded so well to direction. For the adult actors, it was about giving them space. We would let the camera run for long takes, as I wanted it to be a meditative experience for them, and allow them the time to find their truth in the moment, and it comes across in their performances.

8. The visual and sound design in experimental films are crucial for creating atmosphere. How did you craft the sensory experience of Somewhere Between to convey the feeling of existing “between here and the beyond”?

 

I had a talented post-production team who took my direction and really nailed the soundscape that I was after. I had always intended for the camera to stay static for most of the film, seeing most of this world through her POV, so the environment was crucial. I wanted locations that felt untouched and of no specific place, yet familiar to my roots in North Carolina.

9. The film’s exploration of a liminal space is both deeply personal and universal. How do you hope audiences connect with the story on an emotional level?

 

How that connection forms between the film and audience is not for me to define. As long as there is a connection that forms is just beautiful enough.

 

10. What role do you think experimental cinema plays in modern filmmaking, and how do you see your work contributing to this evolving landscape?

 

Cinema is in a very interesting place right now. Even more specific, Hollywood is in an interesting place. I go back to William Goldman’s quote “Nobody knows anything”. I think we’re all witnessing a shift in the industry in terms of content, and I think audiences want to be challenged. Experimental film opens a door to unconventional storytelling that excites and stimulates and gets one thinking about the world in a different way than before. Those abstractions can elevate ideas and take us to exciting places. I’d like to see my work continue to inspire new perspectives and challenge how we tell stories.

11. To conclude, what are your next projects? Are there any ideas currently in development that you’d like to share with us?

 

Seeds are sprouting and she yearns to rise.