Because the Santa Fe Movie Competition prepares to welcome an eclectic slate of movies in 2025, The Habit of Hope emerges as a standout narrative on resilience, id, and the paths folks select when life calls for reinvention. Directed and written by Martin A. Gottlieb, the movie explores themes of getting older, ambition, household, and the seductive pull of hope, providing a deeply private story that resonates universally.
At its coronary heart is Jo Inventory, performed by Anne-Marie Johnson, an getting older actress grappling with the fragility of fame and the enduring ties of household. Jo is pressured to reckon with life’s uncomfortable questions when her sister Lynnie, portrayed by Harley Jane Kozak, faces a well being disaster. Their strained relationship turns into the crucible through which every should confront their very own truths about life, success, and the sacrifices tethered to each.
The filmmakers share insights into the genesis of their story. Johnson, whose intensive profession spans a long time in movie and tv, drew straight from her private experiences as a lady navigating an business usually unkind to these over 40. Gottlieb described the movie as an exploration of the strain between hope and fact. “Seeing family and friends making choices based mostly on hope versus fact—it confused me,” he mentioned. “Hope will not be a plan. However for these of us on this ‘gray space,’ hope can really feel like all we’ve.”
The strain between hope and pragmatism is a thematic undercurrent that runs by way of the movie, not simply in its story but additionally in its manufacturing. Gottlieb and Johnson, alongside producer David Marroquin, confronted the challenges of making a feature-length movie with a self-funded price range. Marroquin likened the method to sporting a number of hats, a trademark of impartial filmmaking. “We didn’t have the posh of claiming ‘We’d like this or that,’” he defined. “As an alternative, we requested, ‘What can we do with what we’ve?’”
Shot largely in Washington and Los Angeles, the movie’s manufacturing was a testomony to the collaborative spirit of its forged and crew. Lots of the performers, together with Clancy Brown, Erika Alexander, and Shari Belafonte, had been longtime mates of the filmmakers, lending their skills to the venture out of a shared dedication to the story. “We simply requested,” Gottlieb mentioned merely. “And we had been fortunate to have unbelievable mates who wished to ‘play’ with us.”The manufacturing itself was not with out its challenges. A scene set in a yard, for example, was disrupted by the sudden din of building—a neighbor’s Sunday venture that necessitated intervention from native authorities. “It was the one time I raised my voice in the course of the shoot,” Gottlieb admitted. But, the hurdles had been usually balanced by moments of profound connection. Johnson recalled a very poignant scene through which Lynnie arms Jo an outdated TV information saved as a memento by their late mom. “It was emotionally difficult, but it surely jogged my memory why I really like this craft,” she mentioned.
The visible type of The Habit of Hope mirrors its narrative restraint. Cinematographer David Marroquin and Gottlieb opted for deliberate, unhurried compositions, holding the digital camera largely static to let performances take heart stage. “We wished the visuals to serve the story, not overwhelm it,” Marroquin mentioned. “Initially, we deliberate to shoot lengthy, unbroken takes, however the uncooked depth of the performances usually compelled us to maneuver in nearer.”
Johnson, whose profession has spanned roles in initiatives like Hollywood Shuffle and Within the Warmth of the Evening, brings depth and vulnerability to Jo Inventory. Her efficiency is complemented by Kozak’s portrayal of Lynnie, whose sickness forces each sisters to confront their unstated grievances and latent love for each other. Brown, a fixture of each movie and tv, lends his gravitas to the position of Riz, Jo’s former director, whereas Erika Alexander delivers a memorable flip as Vanessa, Jo’s confidant.
For the filmmakers, the journey of The Habit of Hope is as layered because the story it tells. Johnson is already growing a deeply private venture in regards to the first African American officer within the LAPD, drawing on her expertise for uncovering narratives that problem conference. Gottlieb and Marroquin, in the meantime, are sketching out concepts for his or her subsequent collaboration. Each emphasize the significance of making tales that really feel intimate and genuine. “If we’re fortunate sufficient to recoup our funding, we’ll reinvest it in one thing significant,” Gottlieb mentioned.
Their reflections on the filmmaking course of underline a shared philosophy: persistence and keenness outweigh perfection. “Everybody will let you know no,” Gottlieb mentioned. “But when the story is in you, you’ll discover a strategy to convey it to life.” Marroquin echoed this, including, “Impartial filmmaking is about resourcefulness. It’s not in regards to the instruments you will have however the story you wish to inform.”
The Habit of Hope stands as proof that impartial cinema can rival bigger productions in emotional depth and inventive ambition. It’s a movie that doesn’t simply ask its characters to confront their truths—it calls for the identical of its viewers. Because the Santa Fe Movie Competition approaches, it guarantees to be one of many pageant’s most thought-provoking entries, inviting viewers to replicate on their very own selections, goals, and the hope that sustains them.
This isn’t only a movie for cinephiles however for anybody who has stood at life’s crossroads and dared to think about a special path ahead.
