Canadian-US filmmaker and actress Sarah Carter won the audience award at Tribeca Film Festival last year with debut feature In Her Name. She describes how she curates her cultural feed.
I’ve always trusted The New Yorker. It encapsulates what I like about people in New York — this great combination of being straightforward with a collective overview of what everybody should be aware of, news- and opinion-wise.
Humour helps me trust people. I love those who articulate — Russell Brand, Bill Maher, The Daily Show With Trevor Noah. Using a sense of cutting humour with practical information.
My friend Ravi Toor, a business coach who’s not in the industry, suggested an animation series called Undone, about a woman who experiences a concussion and goes through this surreal emotional loop. It turned out one of my neighbours [actress Angelique Cabral] is in it. When someone suggests something and someone I know is connected to it, I feel more invested — it creates a web of influence. My personal relationships are the most influential force for me to check out what’s happening.
I use Instagram for recommendations. There’s usually an element of beauty or humour that hits me in the right way. I get a lot of information about who’s doing what. It’s such an easy way to stay aware of what my mentors and favourite artists are doing — i.e., if Darren Aronofsky has a new project. Miranda July is somebody who I resonate with; to follow these people on their personal accounts gives a lot of insight.
I love reading Joyce Carol Oates and listening to Marc Maron’s podcast [WTF With Marc Maron]. They are personalities who I trust as film critics and whose opinion I’m always interested in. With Joyce Carol Oates, it’s her depth, intelligence and unique perspective. She’s always honest and never fails to say something poignant that helps me to integrate emotions that have been stimulated from the work.
I cannot stand negativity when breaking down films. I’ll be turned off immediately if somebody’s trying to show off their knowledge of films, or to say something clever that is critical. Even if it’s on blockbusters, it’s something that has always rubbed me the wrong way. I appreciate critics that are looking for the gold in whatever they’re watching, or whoever they’re talking to.
When I first met my husband [editor Kevin Barth], I called him the film doctor. He would miraculously prescribe films that were emotionally on point with something we had discussed — it’s very sexy, actually! We’ve been married for 10 years and that continues.
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