Palomino

Palomino began for me on a guided horse tour in Burbank. I grew up on a remote farm in rural Canada, and we had horses and cows, and I always loved the animals. To find horses in the urban sprawl of Los Angeles was a discovery of joy because I found myself connected to home.

I was struck by something Gustavo, our guide, said after the tour—he said that he slept near the horses. His close proximity to the animals was a revelation, and I thought there could be a fictional narrative inspired by his guided tour. I met with Gustavo and crafted a narrative short script out of our mutual affection for horses. Part of this process included my imagining—I imagined that for some tourists who rent a horse, the transaction might be more pragmatic. I imagined the contrast, the juxtaposition between Gustavo’s love for these animals. My intention was to create a film that highlights the differing feelings about and from a Hollywood tour horse. The film wrestles with identity: how we see, how horses might perceive us, and how relationships have moments of both connection and disconnection.

Stylistically, I chose the anamorphic frame and vivid colors to illuminate the textures and to emotionally bring us closer to Gustavo, the horse, and lush landscape.

I was guided with the less is more axiom. I chose to film in a minimalist and subtle way because of the gentle spirit of this animal.