Interview Isue Shin

Within Whose Boundaries We Dwell
Isue is a Los Angeles-based cinematographer who specializes in narrative drama. She was born in Seoul, Korea and grew up in Upstate New York climbing trees and swimming in watering holes. After receiving a BA in Modern Culture and Media from Brown University, she was a part of the Telluride Film Festival Student Symposium and Visual Communications Armed With a Camera Fellowship. She most recently completed her Cinematography MFA at the American Film Institute. Her narrative work has been shown at various film festivals, including Slamdance, LAAPFF, and NFFTY.
What inspired the idea of exploring a character with a predetermined fate? Were there any particular mythologies, philosophies, or personal experiences that influenced this theme?

I grew up reading a lot of Greek mythology as a kid and felt that it was a text so rich in its imagery. I was particularly drawn to the Moirae, or Fates, and the physicality of our lives being represented by a thread they control. I wove that narrative into a short film that conveys my strong belief that we have the power to determine our own destiny. Humans may seem so small in the context of the universe, and yet, I believe that our individual plights hold a lot of significance.

How did you collaborate with the director to ensure the visual style enhanced the film's existential themes of fate and choice?

I collaborated with my director, Imogen, to develop a sense of uneasiness in the visual language. I wanted to convey that something is amiss, that is, until it is set straight by our protagonist. I also wanted to differentiate the world of the Moiraes with a veil of mysticism, without completely alienating it from the world that we reside in.

Knowing it is a very short, short film, was there a particular scene where you felt the cinematography played a crucial role in conveying the protagonist's transformation or her growing control over her fate?

I really love the moment in which our protagonist steps into the shed and sees that older version of herself. That shed was so tiny and the sun was setting, so we were losing light, but we were still able to fit a slider in there and give it that slight movement to make that moment of realization and control come to life.