Annette Fausboll

Annette Fausboll isn’t your run-of-the-mill filmmaker—she’s got this knack for diving into stories that just stick with you, way after the credits roll. Take "Transamazonia" (2024), for example. It’s not just another environmental doc; it’s raw, it’s personal, and it’s got this pulse that keeps you glued to the screen. You feel the sweat and hope and all the messiness of people trying to survive in a world that’s changing way too fast. She doesn’t sugarcoat things, and honestly, that’s refreshing. Jump back a bit to "The Harvesters" (2018). This one’s all about tension. You’ve got these South African boys, stuck between tradition and everything new clawing at their lives. It’s not a gentle film—there’s grit, there’s struggle, and there’s this weird beauty in the way Fausboll frames loneliness and loyalty. You can almost taste the dust and uncertainty. Then there’s "The Damned" (2024), which just hammers home how good she is at twisting familiar themes into something that feels brand new. It’s moody, it’s sharp, and the characters aren’t just there to move the plot—they’re alive, and you feel every bruise and heartbreak. Fausboll gets under your skin, making you question what you thought you knew about right and wrong, about survival, about family. She’s definitely not afraid to poke at the uncomfortable stuff, and maybe that’s what makes her films so hard to shake.