with a sigh, she sat down on her sisterâs couch. it was late, she should probably go home but what for? her son would be asleep, as would her wife. even if she wasnât, she wouldnât want to talk to her probably, with how badly sheâd messed up. besides, cosima and her were alike. it was late and she was sure theyâd both be up and she was right when she knocked on her door. âplease, tell me things with you are going better than with me.â she said as she sat forward to open the wine and start pouring it in the two glasses sheâd grabbed from her sisterâs cupboard as she came in. this apartment was basically like her second home. after their parentsâ death, she considered cosima somewhat like her mother - not fully, but it was better than her grandmother.
Cosima had just returned home when she heard a knock on the door. It didnât surprise her to see her sister â who else would be knocking at this time of the night? â and she smiled as she opened it. âHey, Marj.â She watched wordlessly as Marjorie poured two glasses of wine, flopping down on the couch next to her. âWhatâs on your mind?â
⥠. Ë â constance wu, thirty-eight, cisfemale, she/her ⡠in level ten, apartment 1202 youâll find cosima lo listening to would that i by hozier. they have been living in wisteria apartments as a filmmaker for three years. during that time they have earned the reputation of the auteur. it makes sense you know, they can be brilliant + indefatigable but letâs not forget theyâre pretty critical + stubborn. chiaroscuro, cresting waves, swiss watches. ĂÂ
Trigger warnings for car accidents, death.
Cosimaâs early childhood was idyllic. She and her four siblings were born in Berkeley to Edith Wang and James Lo, archaeologists who travelled frequently. Their parents, were open-minded, curious people who wanted their children to be the same way and encouraged them to pursue whatever they were interested in.
Edie and James were also big film fans, and it was thanks to them that Cosima got the bug. After she was given a Super 8 camera for her birthday one year, she knew she could never be anything else.
When she thirteen, her parents and twin sister Delphine died in a car accident in Greece, which Cosima narrowly survived.
A part of her might as well have died with her parents and twin, and things only got worse once she and her siblings moved in with their grandparents, with whom she had a fraught relationship. Cosimaâs teenage years were honestly pretty hellish, and she doesnât remember them fondly. (Although they did influence the themes that occur in a lot of her work.)
Cosima started out with a couple of award winning short films, and her first feature was a self-financed micro-budget film (like Shane Carruthâs Primer or to a lesser degree Nolanâs Following) that unexpectedly won the Grand Jury Prize at Sundance.
Her second and third films were also small (in the 1-10 mil range) budget arthouse indies. Both were noted for being visually striking and daring. Critics loved them, and they established Cosima as an important new director. But they were also hardly tentpoles.
Her fourth film, while having a lot in common with her others, actually gained mainstream success and made a lot of money at the box office (it was probably a horror film). It was nominated for several oscars: picture, director, original screenplay, actress, cinematography, editing, score, sound mixing, and production design, and won two or three of them.Â
Cosima is also the creator of a popular high concept sci-fi drama on HBO, and has produced several films outside of her own. (Her fifth feature, an ensemble psychological drama about a cult is currently in post-production and will premiere at the Venice Film Festival).
As you might have already guessed, sheâs a complete workaholic, even by the standards of filmmakers. Cosima hates boredom almost as much as she just really loves her job (as stressful and frustrating as it can be).
Sheâs also quite the perfectionist. Sheâs never really satisfied with herself (although as sheâs gotten older it no longer manifests as self-hatred) and always wants even the tiniest details to be exactly right. Her distinctive style/aesthetic and attention to detail are a hallmark of her work.
Cosima is blunt and doesnât suffer fools. She just doesnât have the time. It can come off as intimidating, although she doesnât really mean to be and is a big softie when you get to know her. Sheâd do absolutely anything for her friends and family.
Sheâs very inquisitive and curious, likes to have knowledge of a wide range of things.
Hi loves! Iâve had something come up, so I wonât be able to post Cosima or Saffronâs intros yet, but Iâll be lurking on mobile so if anyone wants to plot or just chat hmu or like this post!
If you think about why any story moves us, itâs because of a quaking moment of recognition. Itâs never the shock of the new, itâs the shock of the familiar.
Joshua Oppenheimer, the director of the Oscar-nominated film The Look of Silence (2014), speaks about his practice as a documentary filmmaker.Â
