No Strings: An Interview with Molly Lipson

Please tell us about the projects you worked on before making ‘No Strings. How did you start, and how did you learn to make films?

My background is in writing feature articles for media publications rather than screenwriting and I had only ever been on one film set before I made No Strings – I was the script consultant on my lovely friend Alex Lawther’s debut short For people in trouble and got to be on set for that. I really enjoyed the process and decided I wanted to try writing my own script, and that’s how No Strings was born. I was incredibly lucky to have had that experience with Alex, and to have the support of my producer Ben and cinematographer Helena, who both guided me through my  writing and directing process. I couldn’t have done it without them.

Tell us about ‘No Strings’. How do you describe it?

No Strings is a dark comedy drama with a bold, determined and savvy woman lead that unfolds under extreme time pressure. It weaves multiple themes together and is a fun and (hopefully) funny socio-political commentary on the climate movement, influencers, misogyny and racism.

What was the hardest part of making ‘No Strings’?

Running through No Strings is the theme of how racism is manipulated in order to make a political statement. As I’m Jewish, it made sense to use antisemitism as the example in this film, though the same happens with all racisms and other forms of marginalisation. For logistical reasons, we ended up making this film after October 7th at a time when antisemitism was indeed being widely weaponized to justify and conduct the genocide of the Palestinian people.

I knew I both could not and should not attempt to convert this film into a statement about Palestine that I am not qualified to make, and to which I certainly couldn’t do justice in a 9-minute live action short. However, I also couldn’t make a film about antisemitism and not acknowledge the reality of its weaponization. I was witnessing in real time the Palestinian genocide, and how the Jewish community’s support and defence of it was influenced in large part by historical trauma and fear.

I spent weeks going back and forth on whether I should even make the film at all – it didn’t feel important or like it was the right message at the right time. But I had a shoot lined up, a crew ready to go, and years of work that had gone into this project. I wanted to see if I could make script edits to reflect the socio-political situation without it becoming an entirely different film, and eventually landed on a version I was happy with. Though they were small changes, our lead actors ended up deciding to leave the project. I’m vocal about my political beliefs and see film as a vehicle to share them, but I’m aware that carries different risks and fears for different people.

This created logistical difficulties as we had to cancel and re-schedule the shoot, but whilst experiencing all this, I was also acutely aware that none of this really mattered – the issues I was facing as a Jew who supported Palestinian liberation paled in comparison to what was happening, and what is still happening, to the Palestinian people. The struggle for Palestinian liberation is and should always be led by Palestinians, and so working out how, and even whether, to make this film carried difficulties that I mostly wanted to dismiss.

In the end we found the perfect cast (Jessie Bedrossian, Joshua Akehurst, Beth Noble and Rachel-Leah Hosker) and I’m really proud of what we made. I believe I made the right call and struck the right note with this film, and I remain dedicated to the fight for Palestinian liberation in my lifetime.   

If you were given a good budget, what would be your ideal project?

I am currently dreaming up a project that could work as a TV series or a feature film that tells the story of what happens when a community has to decide how to respond to harm committed by some of its members. Rather than sending them to prison, this project explores the wisdom, beauty and power of a community that seeks to centre care and support rather than punishment and violence. My plan with this project is to collaborate with prisoners and ex-prisoners at every stage, including in R&D, production, post-production and distribution. This project is inspired by the communities and individuals who practice this approach every day that I have the honour of knowing.

If possible, tell us about your next work. What plans do you have for your future work?

I am currently working on two short film scripts and the series/feature film idea outlined above.