What A Place, created in collaboration with electronic music artist altrice, delves into the broad spectrum of self-expression accessible to an individual at any given moment through four interconnected yet distinct scenes. Each scene captures a heightened state of expression experienced by a central character, blurring the boundaries between reality and fantasy and prompting the viewer to wonder if these intense moments are real, or manifestations of repressed desires seeking release.
Niccolò Montanari: Can you share how your background in film and visual arts has influenced the unique aesthetic style of What a Place?
Akira Uchida: My background in choreography, particularly contemporary dance, has always encouraged me to draw from a variety of art forms and translate them into movement. It’s often an abstract process, rather than relying on direct references. This ability to extract qualities from a source and reimagine them in a new context is something I carry into my approach to film. In parallel to my work as a choreographer, I’ve maintained a passion for photography, particularly street photography. When I first moved to NYC, I immersed myself in the work of many iconic street photographers like Diane Arbus, Garry Winogrand, and Helen Levitt. I do think this visual language—capturing raw, unfiltered moments in urban spaces—has influenced my aesthetic in some capacity over the years.
NM: How do you approach the visual composition of a scene, and what inspires your choice of color palettes and framing?
AU: The visual composition for What a Place stemmed largely from the music. Each track carried a distinct emotional tone, and through repeated listening, a visual world gradually emerged. It’s a very intuitive process—I start with an ambiguous sensory feeling and then ask more direct questions like, “Does the space feel isolated or expansive? Is it day or night? What are the surrounding textures?”. From there, I shape the specifics. I leaned into a grungy, muted palette with cold colour tones to reflect the film’s overall raw and cathartic quality. We were fortunate with the weather as the cloudy, moody days complemented this aesthetic. I did however use intentional bold pops of colour to reflect the more passionate states in the film. Working with my DOP, Bailey Miclette, we opted for a 4:3 ratio to create a more intimate frame, drawing focus tightly around the central character and their inner world.
NM: In What a Place, the city itself feels like a character. How did you approach incorporating the urban environment into the film, and what role does it play in shaping the story?
AU: Cities, like individuals, contain multitudes. While we often associate cities with broad characteristics, the reality is that each person experiences and interacts with a city in their way. Some spaces are loud and expansive, and others that feel private and introspective. In What a Place, the urban environment reflects the emotional journey of the character. Each location was chosen to mirror a different internal state, from moments of isolation to those of freedom. My experience living in New York City deeply informed this approach. The constant intensity of NYC can be invigorating, but it also drives a need for solitude. The film captures this duality—the simultaneous push and pull between engaging with the city’s energy and seeking escape from it.
NM: Your film has a very rhythmic pace, almost like a dance. How do you view the relationship between movement and storytelling in your work?
AU: Movement was integral to What a Place, though I was careful not to create a traditional dance film. Instead, I used movement as a tool to convey the character’s internal experience—something that words alone couldn’t capture. Each scene reflects a different state of expression, but I wanted to maintain a rhythmic flow throughout, so the character’s emotional evolution feels continuous and ever-evolving. As a choreographer, I pay attention to the details of individual movements and how they come together to form a cohesive whole. I approach filmmaking in much the same way: each scene has its rhythm and tone, but it must also connect to the larger narrative. The rhythmic pace of the film, driven by both the music and the movement, mirrors the character’s emotional journey, encouraging a constant flow and moving of these intense emotions rather than allowing them to become stagnant.
NM: What’s next for you? Are there any new visual or narrative styles you’re looking forward to exploring in your future projects?
AU: I’m in the early stages of a new film project that’s probably my most ambitious yet. It’s going to be a very personal topic—one that I’m not quite ready to share yet—but it will incorporate strong elements of both dance and fashion. Visually, it’s going to be quite different from anything I’ve done before, which is both scary and exciting!