Park City, Utah – For those of us luck Los Angeles’s latest firesThe past weeks have come with a specific numbness. What is the appropriate level of sadness, after all, if you suffer from that negative?
“Reinnestation”, from the writer and director Max Walker Silverman, presented the port he needed. Josh O’Connor starring in Daissi, a farm trying to pick up the pieces after the wildfire destroys his home, the film crowns in a moment of sadness – and flexibility – which finally brought me crying: “I got what I got”, “I got what I got.” , “As one character puts it,” that was always enough for me. “
The film, which deals with the abandoned Fema trailers, is the bureaucratic red strip and the impossible choice between starting or moving, was inspired by the tragedy of the Walker-Silverman family: a fire in the wildfire destroyed his grandmother’s house in Colorado, took her beloved recipes with her and left her land once in a black burning scar. Participated in the Latorre star as Dusty, Callie-Rose; Megan Fahi in his previous role, Ruby and Rayes in the role of Mila, a woman who lost not only her home but her husband in the fire, “rebuilding”, with a strange timing, is a story that will be listed several times in the coming years in southern California and other disaster areas.
Before the premiere of the movie, Walker-Silverman and The Film’s Cast visited the Times Studio at the Sandans Film Festival 2025. The conversation was edited and intensified.
Max, I want to start with you, because your family’s experience in the Hashim fire inspired the movie. How is your family now? In which part of the reconstruction process are you all?
Max Walker Silfman: This story comes from a very essential human thing, the love of his home and feels satisfied there, then forcing him to reconcile this house fragile and sometimes taken from us. It is strange, even in the face of this loss, the feeling of the remaining house, in a very sudden way, deepening. It is an experience with her knowledge and that many people are aware of it. This is very surprising. This movie I created [is] About disasters, in the end, is not the loss, but about the amazing things that occurred after that, and they are over and over again, embrace people who take care of each other and the societies in which they meet, and people are friends and neighbors in ways they have not been unparalleled. I wrote this, I think, because the catastrophe will be part of our lives forever. It is not something that will really start or end. And if this is the case, we hope that societies after that will continue to be part of our lives as well.
As for your rest, I wonder whether in this movie anything about the process of rebuilding, you surprised you, surprised you, or maybe I spoiled you about how this is in our country now for people?
Josh Okunor: Since Max crosses strongly, these disasters have become more frequent and affect everyone, directly or indirectly, frequently. So I was really interested in Max focus on the human side of how to respond. Society is the solution in these matters. I now think, as I indicated, we are all aware of what is going on in Los Angeles and around the world. And our mission is to look at the human influence of these things.
Dusty begins with great anxiety of the idea “Building again the way it was.” What I saw is doing is an understanding of how change and the ability to adapt actually allow more hope than that of things exactly the way they were. How were the conversations between you and this type of this type of this type of this type of this type helped you understand the mentality that Dusty enjoys and how it changes throughout the movie?
Okunor: One of the early chats we made, something we went and explored a little while in fact in the movie, is the amazing magic moment when Green returns to the scene. Dusty image to rebuild as it was, as you know, repeat what they have, it is linked to sadness. There is a really exceptional thing about accepting something different that should not necessarily be worse or better, but new. This is what I really liked at this moment of green – this scene, regardless of trying to get the loan or trying to build what he has, will never be himself. This can be a beautiful thing.
It is interesting to cause sadness because what you tried watching the movie, Megan, is when you read your personality [a] letter [from her late mother]It was like the feelings that I had about the fire came out. I wonder if you can talk about the shape of the air on that day.
Megan Fahi: The atmosphere was on the group, as it was every day, very nice, loving and peaceful. It is a very intimate moment. We are all just sitting on this schedule. I think I felt strongly supported by being at this round table with these people.
Walker-Silverman: This scene I did there, Megan, is really like one of the most amazing shows that I have ever seen. I remember exactly where you were. I was prepared for this small stairs at home with my screen and I could not see it correctly. I realized that I was just crying. Then it was over and everyone was crying.
Fahi: But this is the thing in sadness, that it can feel intense lonely when it is in it. But this is an ideal example for everyone in this group, I am sure that everyone’s life has been affected by sadness. Therefore, it is just a beautiful acting, that moment in the movie, for another human experience deeply. It is a connective tissue, whether we are aware of it or not.
Josh Okunor and Laila Lituri in “reconstruction”.
(Jesse Hop Institute / Sandans)
Kali, your personality He asks for staying in Colorado, “How long is it to burn again?” I wonder how somewhat understood her fear of fires that return and cause destruction again, then how to get to a place to say, “You know what, I want to rebuild here instead of elsewhere.”
Reese: She says as much as you hate her here, you love her here. I think this is her final relationship with loss, not only from her home, but her husband. And I think her real relationship will always be there, because this is where she was lost. So I know as much as she wanted to escape from the place that might burn again, this is the connected piece that she has – and this society that he built around this tragedy is this real human experience. As you know, these natural disasters have no bias. Everyone gathered in this society. So I think her final decision was, “If I had to pass again, what is the best place to go to it again? What are the best people?”
A final question for the entire group. At some point, Dasti says, “It is funny, the things you pack and the things you leave.” I wonder whether the experience of making this movie has made any of you think about a specific legacy or an important element in your life, in your home, you will now be like, “This is in my list to make sure it is saved.”
Latri: I only discovered this a few days ago, but my great grandmother wrote a book-I think it was either her life or about the university she went to. It is a truly old book and we have reached it in our house and watch the movie. It made me think, “Well, this is my great grandmother. I don’t want to leave it there.” I will likely try to save me to save this ancient to get the memory of my great grandmother.
Fahi: This is amazing.
Walker-Silverman: My mother lost her mother’s recipes in the fire, handwritten recipes. So I think I have some recipes from my mother that I will cherish a lot.
Okunor: The ceramics in my grandmother will be like an exit strategy.
Relegate: Certainly I will take the late brother’s necklace that he has. There are five of us, and I will definitely take a necklace with me.
Fahi: I have a piece of jewelry from my grandmother I think it will be something I want to keep.
