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Independent filmmakers often innovate and push boundaries that their counterparts in mainstream cinema cannot.
The creative partnership between directors and editors can transform limited resources into powerful, thought-provoking storytelling. Jimpa and The Perfect Neighbor are two films where the collaborative and trusting working partnerships enabled the filmmakers to tackle complex subjects in new ways, with sensitivity and impact.
Jimpa, directed by Sophie Hyde and edited by Bryan Mason, is a multi-generational family drama that explores what happens when a trans, non-binary teenager decides to stay in Amsterdam with their gay grandfather, challenging family dynamics across generations.
The director-editor team embraced a philosophy of fluid storytelling, allowing the narrative to evolve throughout the filmmaking process. As Hyde explains, “One of the things I think is exciting about filmmaking is that the questions of the story are live right until we finish.” This approach challenges the conventional notion that narrative decisions are locked in during scripting or production. By remaining open to change, Hyde and Mason created space for more nuanced character exploration and emotional depth.
Mason’s editing choices played a critical role in maintaining this fluidity. Integrating flashbacks and shifting perspectives added complexity to the story without disrupting narrative coherence. “It was an interesting balance because it adds a really nice depth... you meet a character and then kind of cut into a moment from their past,” Mason reflected. “When it works, it tells you so much about that character in, like, two seconds. But when it doesn’t, it interrupts the thought.”
In The Perfect Neighbor, director Geeta Gandbhir and editor Viridiana Lieberman take a new approach to a tragically familiar American story. Rather than focusing on the aftermath of gun violence, as many documentaries do, their film uses real-life footage to show viewers the dynamics that existed and evolved within a Florida community when Ajike Owens was fatally shot by her neighbor.
The team used all real-life footage, including that from police body cameras, dashboard cameras, Ring doorbells, and more, to tell the story. Gandbhir’s guiding principle for the project was clear: “My North Star was keeping all of that footage in the POV of the neighborhood.” This commitment to perspective shapes the entire narrative, allowing viewers to experience the community through the eyes of its residents rather than as outside observers. Such an approach represents a significant creative risk, requiring both director and editor to resist conventional documentary techniques in favor of authentic community representation, all while remaining objective.
For Lieberman, this editing project aligned with her creative desires. “My dream in life is to work on things that are specific, you know, and that are pushing forward, that are trying new things. And this was pure gut, you know, pure instinct,” she said. Her statement encapsulates the essence of creative risk-taking in independent film—following instinct over formula, pursuing specificity over broad appeal, and embracing experimentation.
The evolution of filmmaking technology has significantly impacted the collaborative process between directors and editors. Bryan Mason notes that non-linear editing tools have made workflows quicker and more adaptable, allowing for increased experimentation. “The tools have progressed and made many actions easier,” Mason explains, highlighting how advancements like Speech to Text in Adobe Premiere Pro speed up workflows and empower filmmakers to test new ideas even when the timelines are short.
For Jimpa, these technological capabilities made it easier to experiment with narrative structure, test different flashback sequences, and refine character development throughout post-production. Every edit became a risk assessment: would this cut deepen character understanding or disrupt narrative flow? The collaboration between Hyde and Mason created a safe space to experiment with these risks, testing boundaries while maintaining a cohesive narrative.
Similarly, for The Perfect Neighbor, modern editing capabilities enabled Gandbhir and Lieberman to work with all real-life footage, material that might have been prohibitively difficult to shape into a compelling narrative with earlier, linear editing tools.
While tools can enhance the ability to experiment, the success of director-editor partnerships hinges on trust and effective communication that balances creative vision with collaborative input. Lieberman articulates this delicate dynamic: “I am passionate about having a seat at the table, so I will pitch ideas while honoring the vision of the director. And a big part of that is always really knowing what the idea is, what it's going to do, and why I believe in it. Then if it doesn’t work, it can still inspire another layer to our process.”
Her approach reveals how productive collaboration requires both assertiveness and humility—the confidence to propose new ideas paired with the openness to see them evolve or transform. This philosophy creates space for creative risk-taking within a framework of mutual respect, allowing both director and editor to contribute to a unified vision without sacrificing their distinct perspectives.
In the case of the Perfect Neighbor, the team’s vision and collaboration worked to enable the unconventional use of body camera footage. They relied on their teamwork, communication, and flexibility on narrative structure, pacing, and emotional impact — all while using material not intended for cinematic storytelling — to create a film filled with emotional authenticity and narrative clarity.
You can hear more of this conversation on the Adobe Video and Motion YouTube channel here.
