Presented by Wānaka.

Malia James. Filmmaker.

But Malia isn’t just a filmmaker. She’s a world-wandering, raven-haired, bass-guitar-wielding Texan who has directed music videos for Black Rebel Motorcycle Club, Green Day, Halsey, MØ, RHCP, Interpol, Troye Sivan, Dev Hynes, and Rita Ora, among many others. Recently, Malia directed Blue Lips, a well-received short film that heralded her foray into narrative filmmaking. Being that she’s a brilliant filmmaker, it’s no surprise that she boasts an impressive roster of commercial clients, including Captain Morgan, Google, Adidas, Head & Shoulders, Wrangler, Bose, and Truly. Malia has a fluid directing style that blends a relaxed atmosphere with high attention to detail, and her passion for the project is palpable on every set. She has won Clio and Webby Awards, been nominated for Best Rock Video at the MTV MUSIC AWARDS, Best Music Video at the Brit Awards, and Best Special Project at the UKMVA. She’s also received a Vimeo Staff Pick and screened her work at SXSW. Her photo book, Girl in a Girl Band, is out now. She is formidable. She is your judge. Let’s meet her.

Can you tell us about your career as a bass player and how that lead to making music videos? Were you dabbling in film or photography before music?

I wanted to be a director when I was a little girl, even before I understood what that meant. In middle school, I started working on theater productions and taking photography classes, knowing I would eventually merge the knowledge of both. All along, music was a driving inspirational force for me, but I felt timid seeing people pick up instruments so easily. I continued on the path towards directing and photography while also dedicating myself to music and musicians. At 26, I was living in London with insufficient funds to venture out much and was soothing a broken heart over a breakup with a musician, so I decided to finally make the leap into playing an instrument.

Serendipitously, the person I was going to take guitar lessons from had just lost a bass player. I boldly said, ‘Well then, teach me the bass.’ I joined his band that day and played my first show to a packed bar a few weeks later. Not long after, I was playing to big crowds at festivals with Marnie Stern and eventually joined Dum Dum Girls. Directing remained the North Star throughout that time, but touring in bands was an intentional detour. Life on the road eventually wore me out and I felt my heart calling me back to directing full-time. While my directing career could have taken off sooner, I wouldn’t trade those experiences for anything. My life and my perspective feel richer from taking the meandering path, which undoubtedly sets me up to tell richer stories in future films.

What in your opinion are the five greatest films ever made?

I struggle with the idea of ‘greatest’ because anyone’s response to art or cinema is so singular. The five films that have had the greatest impact on me—or that I keep returning to—are: Goodwill Hunting, The Graduate, American Beauty, Lost in Translation, and Movern Callar. Sound of Metal catapulted to the top of an all-time favorites list. I was still weeping 15 minutes after the credits rolled.

Five favorite directors?

Lynne Ramsey. Movern Callar has had a profound effect on me as a director. The premise, the rawness, the aesthetic, and her use of music and sound. My heart flutters just talking about it. She’s profoundly underrated. Derek Cianfrance for how he so beautifully captures the richness in a single moment. Paul Thomas Anderson is a true master. Every time I re-watch any of his films, I notice another layer of his brilliance. Christopher Nolan because non-linear time and quantum physics are theories.

This year's theme is Regeneration, which can be interpreted in a bunch of different ways. How would you approach this year's theme? Any thought starters you'd like to share with our prospective filmmakers?

I’ll take Regeneration to mean something old composting into something new. If I were making a film under that directive, I would approach it one of two ways: either presenting a new perspective on an old story or seeing a character transform through alchemy.

What will you be looking for in a winning short film?

Curation of every detail on camera. I’m looking for someone who has a voice. I will personally be drawn to pieces that feel authentic and have something relevant to say. Or just something that really moves me, even if it’s to laughter.

This year’s winner will receive $10K cash, $10K worth of Sony hardware, and an all-expenses-paid trip and production budget to shoot a short film in beautiful Wānaka, New Zealand. Call for submissions is open now. It closes on May 14.

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