Trusting the Process: Pete Ohs Discusses Erupcja, Charli XCX, and Innovative Approaches

      Though innovations in filmmaking may seem scarce, Pete Ohs might have discovered a fresh approach. Viewing each of his films as a "table of bubbles"—a delicate and beautiful construct unsuited for ideological or physical weight—he collaborates closely with actors, credited alongside them as co-writers, to develop a narrative that unfolds actively. Yet, his films don't feel improvised or underdeveloped; instead, they thrive on the unpredictability of their characters' actions, appearing open to any narrative possibilities. Following last year's charming (and still unreleased) *The True Beauty of Being Bitten By a Tick*, Ohs has released *Erupcja*, utilizing a similar model but gaining visibility due to its lead, the co-produced and co-written effort with Charli XCX.

      However, the film's focal point is not solely its star but rather the dynamic between Bethany (played by XCX) and Lena (Lena Góra), friends connected by a strange, almost supernatural bond that complicates when Bethany arrives in Lena’s Warsaw with her fiancé (Will Madden’s Rob). Figuring out the nuances of their relationship and where a reunion leads them (including interactions with ex-pat artist Claude, portrayed by Jeremy O. Harris) has been one of the most enjoyable cinematic experiences I've had this year, highlighting the discomfort of the lead character's selfishness and the underlying tension that the story could veer off course.

      The film's successful trajectory speaks to Ohs and his ensemble of actor-writers, who he discusses practically, likening his process to traditional filmmaking—a circuitous route toward a similar destination. We conversed as *Erupcja* was gearing up for its U.S. premiere at New Directors/New Films just before its theatrical release this Friday.

      The Film Stage: Occasionally—often in fact—a film carries a preconceived or preconstructed narrative. You've been transparent about your "table of bubbles" concept in your filmmaking. Given that this film was shot in a foreign setting, a different language, with a major pop star involved, I went into it wondering: what is this going to be like?

      Pete Ohs: Absolutely! [Laughs]

      It's like: is this going to be a legitimate movie? But from the very first scene, it establishes itself as such.

      Right. There are many interpretations of what "not a real movie" could mean. Is it like *Crossroads* featuring Britney Spears? Or just a chaotic improv effort?

      Yeah. If it were *Crossroads*, it might be reclaimed by audiences in 20 years thanks to Letterboxd, so you’d ultimately win.

      Exactly! In the long run.

      But I think you are starting off strong. Maybe this question encapsulates how much you think about, or are aware of, pre-existing narratives surrounding a film, or if that consideration doesn't come into play since, in the end, the film speaks for itself.

      With these projects—linked to the "table of bubbles" concept—we're structured in a way that suggests we shouldn’t dwell too heavily on those expectations. It's crucial to be aware and engaged, aiming to create something with value—an intriguing piece of art. Our production's budget and nature mean we don’t have to justify its existence, so we can focus on the creative sandbox we have. What I prioritize with the actors is our shared experience, making it a genuinely beautiful and life-affirming two weeks spent creating.

      Absolutely.

      And I'm eager to do it again. In that sense, we succeed; then when the film achieves its final form, we approach that later.

      We handle that here.

      Right! We work it out. Since I take a holistic approach to filmmaking, I remain conscious that as the project solidifies, choices continue to inform what it is and how it will exist in the world. The film features multiple color blocks as a stylistic choice—there's no "Brat-green" color block, which is intentional. We're aware we're creating something situated within the present context; the choices we make mean something, and the decisions we bypass also bear significance. If this were *Crossroads*, there would certainly be more Brat-green.

      Indeed, we're intentionally connecting to Charli as a star, yet the essence of the film is Charli wanting to be a collaborator and artist experiencing acting and filmmaking—not producing a product aimed at maximizing returns. In my view, that hopefully preserves some artistic integrity [Laughs], allowing audiences to recognize this as a legitimate movie. Whether it is a good film is different, but at least it operates on its own terms without trying to manipulate the market.

      I appreciate that because I love the color blocks; they served as a palette-cleanser, an interstitial structural device, and I never once expected a Brat-green block to appear. I was surprised to learn about the post-production process, which felt complete and presentable to me. You mentioned entering with "nothing at all." What does that entail