WXFF 2020: Livia Ihinosen Ohihoin
There’s not long left until Women X begins and you can catch beautifully moving films including Livia Ihinosen Ohihoin’s For the Woman on the Floor, which is part of our Selfhood Stories selection. In this interview, director Livia chats to us about creating a safe atmosphere and space on set, what she is currently working on, and details about the creative choices made in For the Woman on the Floor.
Tell us about yourself and the work you do
LIO: I’m a multicultural and multidisciplinary artist based in New York City. I grew up in Germany in a Nigerian-Sicilian household before moving to the US at the age of 15. I simply love exploring this world and the people that inhabit it. Out here I currently freelance in film/animation, work part-time as a figure model, and make/sell handmade jewellery on the side.
What is your proudest moment of your career so far?
LIO: That’s a tough one. It’s not a moment but I am most proud of the fact that, with every single project, I have challenged myself to do something that I have never done before… To constantly be a novice. It can be a humbling place to be in but also so rewarding.
Where did the concept of Ms. Yarn come from?
LIO: We didn’t want it to be about “him” and what he did so he was out of the picture. It is about and for her, to create a space for her to start healing. We needed “someone” to guide her and push her and be the part of her she wasn’t allowing. I knew I wanted to challenge myself in a mixed-media project so it felt natural and comforting to make her hand-animated and out of yarn.
What’s the significance of the colour blue that makes up Ms. Yarn and can be seen in the bathroom?
LIO: I love that you caught that! We certainly needed to connect those two and a few colours were already out of the question in fear of making her seem evil or threatening, anything red or dark wouldn’t have worked for us. So we wanted a gentle colour and we couldn’t find a yellow bathroom so blue it was. Though in hindsight, blue was the right choice anyway.
What was the atmosphere on the set like? What did you do to ensure it was a safe and comfortable space for all involved when dealing with such a sensitive subject matter?
LIO: Thankfully our crew and particularly our all-female ATL created an incredibly safe and efficient set for us. We knew we wouldn’t know who might feel uncomfortable or potentially triggered by this so we kept the atmosphere relatively light for our first couple of shooting days. On our third shooting day, we shot the entire bathroom scene and decided to work with a skeleton crew, consisting only of myself, our Cinematographer, and our Actor. Even our Boom Operator had rigged the boom across the ceiling and was working from outside the room. That day was indescribably painful for both our actor and myself. I would cover them with a robe and hug them between each take and we tried hard not to go again unless absolutely necessary. I think for both of us it was our most challenging role yet but we persevered and, to this day, I feel endlessly proud for how strong we are.
Was the choice to forego any major dialogue one that was made early on or something that happened naturally in the filmmaking process?
LIO: Well this project actually had quite the auditory evolution. Through most of development this project was very word-heavy in form of a poem alongside interpretive movements and scenes but, by the end of that summer, I had to admit that I was beating around the bush. We had this whole metaphor with shoes and although I loved the idea — I still do — it felt like I was making it palatable for my own sake. It needed to be raw, and no words seemed appropriate for that pain.
What themes do you want to explore in your future work?
LIO: Good question. I’d say I’d like to continue building on what I’ve already been exploring but expand it. My background has very naturally led me to themes such as connection, communication, and intimacy. I want to find more ways to play with that…
Movement, Shibari, Sign Language… I mean the more I look the more I find.
Tell us three things you're grateful for?
LIO: To have a healthy body that moves me, to have a curious family, and friends that challenge me.
What three things do you always have on your bedside table?
LIO: Hah, I suppose a glass of water, my vibrator, and a pair of thick socks.
What are you working on at the moment/next?
LIO: I’m currently creating an informational graphic series on financial education. I know that doesn’t sound too sexy but it surprisingly is. Money is a very emotional ocean for a lot of people and when you learn to navigate it, you get the freedom and the confidence to steer your own ship. And what isn’t sexy about that.
