From KCRW, Santa Monica and KCRW.com, this is The Treatment.

Welcome to the treatment, what you can also hear, KCRW.com.

I'm honored to have my guest filmmaker Nina Minkis here today.

There's going to be a retrospective of her work in New York in Los Angeles, L.A. through

March 7th, New York, March 9th through the 16th at the Anthology Film Archives in New York,

my neighborhood and UCLA Film Archives, the UCLA Film and Television Archive of the Billy Wilder Theater when it's here through March 7th.

First of all, Nina, I was telling before we got started, I really do think of you in that group of select filmmakers who were instinctive filmmakers.

I said before, Juan Carwai and George Miller and Antonio, people who think through the camera.

And I'm guessing is that sort of thing where, because you started just shooting very young and working as a photographer,

I even sort of think there's that kind of weird sort of intersection between someone like Robert Kappa and directors in your work.

Would you agree with that?

I came to photography.

I started doing photography when I was a teenager, still photography,

and I was also a dancer. And then I thought I was going to be a dancer. And I was living

with some people in a house. Anyways, it's not that interesting of a story, but I ended up making a dance film.

And that was my first experience of, like, movement.

And I kind of, like, got so excited about photography and movement and composition.

And so, you know, I always, like, came from that place of intuition as opposed to a place of storytelling dialogue.

And I wonder if you agree, it's a real emotional narrative.

Yeah.

Rather than that kind of ABC storytelling.

I mean, one of my favorite films of yours is the great sadnesses are horror, which I really feel like I said to even before we got started, is like this subconscious version of a David Lean movie.

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