Film festivals are an infuriating, jealous time for me. The small independent filmmakers at the cutting edge of the art are out in force, displaying their latest works (lest I romanticise the festivals too much, these gems are buried beneath an absolute avalance of unwatchable dogshit) and all I have to go by is the opinions of those who have been issued press passes, which can be muzzled by personal feelings for the filmmakers and a desire to get another pass the next time the show comes to town. More infuriating than the festival period, though is the time after. The critics have had their say, a film’s riding a nice wave of buzz and then there’s a strong chance it just vanishes, never to grace local cinemas while Frozen sing-alongs still pack in the crowds. I love a good drunken rendition of Let It Go as much as the next man, but it still gnaws at me. Especially when films like Amy Seimetz’s directorial debut Sun Don’t Shine get buried. Seimetz’s choices of material as an actress have been phenomenal. She’s starred in two of my favorite films of the last decade (Upstream Color and A Horrible Way To Die), worked with some of the best directors in independent film, and her choices as an actress are fascinating. Yet her well-recieved freshman film is almost completely buried, never making wide release in cinemas. Hell, it didn’t even make it to DVD. Currently, the only way to watch it is on streaming services, a dicey prospect for anyone working with Eircom internet. Undoubtedly, I’ll bend at some point and watch it, stuttering video or no. Until then I’ll stick with her collaborations with Carruth and Wingaard, await her coming tv series The Girlfriend Experience, and try to convince myself that it’s everyone else who’s the problem, not me. For a glimpse into the creative mind of Seimetz, check out the video below, a welcome interview with the very cool people over at DP/30.