‘Do you want all the scenes to be penetrative?’: how working with an intimacy coordinator made my film better

T he light is wrong for what we’re trying to do. Outside, it’s early afternoon at the Port de l’Arsenal in Paris, bright and unmistakably day. Inside the houseboat that acts as the main set for my film Amarres (Moorings), the team has installed track lights and covered a ceiling porthole with black...

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