PARK CITY, Utah — For these of us lucky sufficient to keep away from evacuation, a lot much less life-altering destruction, in the course of the current L.A. wildfires, the previous weeks have include a sure numbness. What stage of grief is suitable, in spite of everything, in case you are experiencing it secondhand?
“Rebuilding,” from writer-director Max Walker-Silverman, supplied the outlet I wanted. Starring Josh O’Connor as Dusty, a rancher making an attempt to select up the items after a wildfire destroys his house, the movie culminates in a second of sorrow — and resilience — that lastly introduced me to tears: “You got what you got,” as one character places it, “and it was always enough for me.”
The movie, which offers with derelict FEMA trailers, bureaucratic crimson tape and the inconceivable selection between beginning over or shifting on, was impressed by Walker-Silverman’s circle of relatives tragedy: A wildfire destroyed his grandmother’s Colorado house, taking her beloved recipes with it and leaving her once-verdant land a blackened burn scar. Co-starring Lily LaTorre as Dusty’s daughter, Callie-Rose; Meghann Fahy as his ex, Ruby, and Kali Reis as Mila, a lady who’s misplaced not solely her house however her husband within the hearth, “Rebuilding,” with uncanny timing, relates a story that will likely be informed many instances over the approaching years in Southern California and different catastrophe zones.
Forward of the movie’s premiere, Walker-Silverman and the movie’s solid visited The Occasions’ studio on the 2025 Sundance Movie Competition. The dialog has been edited and condensed.
Max, I wish to begin with you, since your loved ones’s expertise of a wildfire impressed the movie. How is your loved ones doing now? What a part of the rebuilding course of are you all in?
Max Walker-Silveman: This story comes about from a really primary human factor, which is loving one’s house and feeling good there, after which being compelled to reconcile with that house being fragile and sometimes being taken from us. And surprisingly, even within the face of that loss, a sense of house remaining and, in a really stunning method, being deepened. It’s an expertise that I’m aware of and that many individuals are aware of. And it’s very stunning. This film I created [is] about not catastrophe, finally, not loss, however in regards to the wonderful issues that occurred afterwards, which is, time and time once more, individuals caring for one another and communities coming collectively and folks being associates and neighbors in methods they by no means would have in any other case. And I wrote this, I believe, as a result of catastrophe goes to be a part of our lives perpetually. It’s not one thing that can actually start or finish. And if that’s the case, hopefully the communities that come collectively afterwards can proceed to be a part of our lives as effectively.
For the remainder of you, I’m questioning if in making this movie something in regards to the rebuilding course of struck you or shocked you or perhaps dismayed you about how that performs out in our nation proper now for individuals?
Josh O’Connor: As Max articulates powerfully, these disasters have gotten extra frequent and have an effect on everybody, instantly or not directly, extra incessantly now. So I used to be actually fascinated by Max’s concentrate on the human aspect of how we reply. And neighborhood is the answer in these issues. And I believe proper now, as you alluded to, we’re all very conscious of what’s occurring in L.A. and everywhere in the world. And our job is to have a look at the human affect of this stuff.
Dusty begins off being very involved with the concept of “building back just the way it was.” And what we watch him do is kind of perceive how change and flexibility would possibly really permit for extra of that hope than precisely placing issues the best way that they had been. What had been the conversations like between you and Max that kind of helped you perceive the mindset that Dusty has and the way it adjustments over the course of the movie?
O’Connor: One of many early chats we had, and one thing we went and explored a bit and it’s really within the film, is the stunning and magical second when inexperienced comes again to the panorama. Dusty’s picture of rebuilding because it was, you recognize, replicating what that they had, it’s in a method tied in to grief. And there’s one thing actually distinctive about accepting one thing completely different that doesn’t essentially should be worse or higher, however is new. That’s what I actually appreciated about this second of the inexperienced coming via — that panorama, regardless of him making an attempt to get the mortgage or making an attempt to construct again what he had, it should by no means be the identical. And that may be an exquisite factor.
It’s attention-grabbing that you just carry up grief as a result of what I skilled watching the movie, Meghann, is when your character reads [a] letter [from her late mother], it was just like the feelings that I had in regards to the hearth got here out. I’m questioning should you may speak about what the ambiance was like on set that day.
Meghann Fahy: The vibe on set, because it was each day, was kind of light and loving and really peaceable. And it’s a really intimate second. We’re all simply kind of seated at this desk. And I believe I kind of felt the help energetically simply by being at that spherical desk with these individuals.
Walker-Silverman: That scene that you just did there, Meghann, is like actually some of the wonderful performances I’ve ever seen. I bear in mind precisely the place I used to be. I used to be curled up on that little staircase in the home with my monitor and I couldn’t see correctly. And realized I used to be simply crying. After which the take ended and everybody on set was crying.
Fahy: However that’s the factor about grief, is that it may well really feel so lonely if you’re in it. However that’s such an ideal instance of each single particular person on that set, I’m positive everybody’s life has been touched by grief. So it’s simply such an exquisite illustration, that second within the movie, of one other deeply human expertise. And it’s a connective tissue, whether or not or not we’re all the time conscious of it or not.
Josh O’Connor and Lily LaTorre in “Rebuilding.”
(Jesse Hope / Sundance Institute)
Kali, your character asks about staying in Colorado, “How long until it burns again?” I’m questioning the way you sort of understood her concern of the fires coming again and inflicting destruction once more, after which how she arrives at a sort of place of claiming, “You know what, I do want to rebuild here instead of elsewhere.”
Reis: She says as a lot as she hates it right here, she loves it right here. And I believe that’s her closing connection to the loss, not solely of her house, however her husband. And I believe her actual connection, she’ll all the time be there, as a result of that’s the place she misplaced them. So I do know as a lot as she wished to run away from the place that will burn once more, that’s the connecting piece that she has — and this neighborhood that she constructed round this tragedy, this actual human expertise. You already know, these pure disasters, they don’t have any prejudice. All people sort of got here collectively on this neighborhood. So I believe her closing choice was, “If I have to go through it again, what better place to go through it again? What better people?”
One final query for the entire group. At one level, Dusty says, “It’s funny, the things you pack and the things you leave.” I ponder if the expertise of constructing this movie made any of you consider a specific heirloom or essential merchandise in your life, in your house, that you just now could be like, “That’s on my list to make sure that I save.”
LaTorre: I solely came upon about it just a few days in the past, however my great-grandmother, she wrote a e-book — I believe it was both about her life or in regards to the college she went to. And it’s a extremely previous e-book and we’ve bought it at our home and watching the film, it sort of made me assume, “Well, this is my great grandmother’s. I wouldn’t want to just leave it there.” I might attempt my absolute hardest most likely to save lots of that vintage to have the reminiscence of my nice grandmother.
Fahy: That’s an incredible one.
Walker-Silverman: My mother misplaced her mother’s recipes within the hearth, handwritten recipes. So I believe I’ve some recipes from my mother that I might treasure very a lot.
O’Connor: My grandmother’s ceramics could be like, I’d have an exit technique.
Reis: I might positively take my late brother’s necklace that he has. There’s 5 of us, and I might take his necklace with me for positive.
Fahy: I’ve a chunk of jewellery from my grandmother that I believe could be one thing I might wish to hold.
