In an interview with Digital Trends, EllaBalinska and ShanaFeste discuss the importance of creating a Black female protagonist in RunSweetheartRun.
On the surface, Run Sweetheart Run is a cat-and-mouse horror film about a young woman, Cherie , running for her life. Seriously, Balinska runs a lot. The actress became so engrossed in sprinting that writer/director Shana Feste asked Balinska to slow down during takes because the camera department could not keep up. The amount of running will catch your eye, but the film’s portrayal of an intelligent woman fighting back against the patriarchy will grab your attention.
Shana Feste: It’s a mix of like “finally,” and how tired I am. I told Ella the other day, “I think this is the longest relationship I’ve ever had with an actor in my mind.” Like, we’re still in it. We were shooting this last year. We were doing a reshoot last year that we never expected to do. But, I’m just incredibly grateful that it’s finally going to see the light of day because that was the worst for any filmmaker releasing a movie at the height of the pandemic.
The use of blood was interesting, especially regarding Cherie’s period. Ella, why was it important to normalize periods in this film? Balinska: Yes. It’s funny, they did warn me that I was definitely going to be needing to put one foot in front of the other a few times here. [Laughs] I think one of the best aspects of the film is the pace it brings to the movie.
I liked how you set it at night. It gives off this gritty, tenacious feeling. I thought of Michael Mann’s Collateral, Nightcrawler, or Drive. It has to be difficult.Run Sweetheart Run - Official Trailer | Prime Video Cherie is a Black female protagonist. She’s a single mother who is highly intelligent. She’s not your typical damsel in distress. She’s tough, and she’s a survivor.
I really wanted to create a Black final girl. That’s something that we don’t often see. We don’t often see women win in film, in general, and we certainly don’t often see Black women be the last survivor in a film. I think with the help of Effie Brown, we got to go back into the film, and we got to open a writers’ room with Black writers who were incredibly talented, Kellee Terrell and Keith Adkins.
Feste: In his body of work in Denmark, you see that he’s like a master class in acting. He’s done it all. And I was so charmed by Pilou personally because he’s such a sweet, affable, lovely guy that you just want to laugh with that. I knew there was this whole other side, and we talked a lot about like romantic comedies. We talked a lot about Hugh Grant and the physicality of a romantic star.
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