From KCRW Santa Monica and KCRW.com, it's The Treatment.

It's The Treatment.

I'm Elvis Mitchell.

My guest, who in a brief period of filmmaking, has come up with a few films with enormous detail.

And if you're a fan rework, you remember the kind of details, such as using a bread knife to slice a pint of ice cream and have in her short Sunday.

Or so many beautiful details in her new film, her feature film directing debut, After Sun, which is one in the

Gospel War, the War of the National Society of Film Critics, and the new film critics circle,

of course, competed in the camp, talking to the writer-director, Charlotte Wells. Charlotte,

so great to have you here. Thank you. Yeah, thanks for having me.

There is such a great eye for that detail. I just watching Afterstone just thought so much about Sunday.

With the opening, we see your protagonist stitching that sweater together.

And then near the end, she's stringing that guitar by hand.

And actually, for me, the suspense was if she's going to tune it by ear.

That really is a very sensible moment.

And one of the things that you're so good at doing, I think, and it's so prevalent in

after Sun is the kind of suspense that comes from watching sort of quotidian real-life details

being worked out.

Yeah, it's been interesting.

People have been drawn to that aspect of it recently, and it's something that's difficult to speak to in some

ways, because I think it is, like, going back to that for short, it's somewhat inherent in what

I'm doing, and there are times that I lean into it, and other times I think it is just a product

of how I go about making films.

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