Pop-Culturalist.com

Sweetness isn’t just a film—it’s a layered, unsettling portrait of fame, grief, fixation, and the stories we tell ourselves. A decade in the making, Emma Higgins’ feature debut is a SXSW standout that showcases her bold, genre-bending storytelling. Blending nostalgia, teenage angst, and a striking visual style, the film explores the murky territory between admiration and obsession—creating characters so fully realized they feel like people you know, yet so complex that audiences will be left questioning how they should feel about them.

Its visual language shifts between moments of deep immersion and eerie voyeurism—at times drawing the audience into its characters’ emotions, and at others making them feel like distant onlookers, witnessing something they weren’t meant to see. It’s a delicate balancing act—one that ensures every artistic choice, from cinematography to score, amplifies the film’s distinct atmosphere.

What truly sets Sweetness apart is the care and collaboration woven into every aspect of its creation. Over the years, Higgins has shaped a story that doesn’t just ask its audience to watch—it asks them to feel. Her ensemble cast, including Kate Hallett, Herman Tømmeraas, Justin Chatwin, Amanda Brugel, and Aya Furukawa, not only lifted these characters off the page but made them feel lived in, adding layers of depth and authenticity that make their performances unforgettable.

We sat down with Emma and the cast to dive into the bold creative risks that define Sweetness, the deep character work behind each performance, and the journey that led to its highly anticipated premiere at SXSW.

PC: Emma, one of the most exciting aspects of film festivals is discovering new voices, and Sweetness has such a distinct creative stamp—blending your passion for music, experience directing music videos, and bold stylistic choices, like the almost voyeuristic gaze that enhances the film’s exploration of parasocial dynamics. How did you develop this unique visual and narrative approach, and what inspired these creative choices?
Emma: It was very much a collaboration. I had incredible collaborators across production design, cinematography, music, editing, and our cast—so many people contributed to shaping the film. A big part of it was assembling the right team—people who understood or shared my sensibilities. I felt a deep responsibility to honor whatever felt right for this film. In fact, I don’t think it turned out to be the film I originally set out to make, but as it evolved, I realized, “This makes more sense.”

For example, discovering the tone was an interesting process. It felt like it emerged organically, as if the film was revealing to me what it wanted to be, and my job was to honor that. There’s a lot of me in it—from character and town names to every tattoo on Herman’s character, each referencing my influences in film. Every decision was guided not just by how it served the story but also by whether it brought me joy.

Very early on, I wrote a manifesto for the film, and one of the top things on it was: “Does it bring joy?” I kept that note below my monitor on set. If something resonated with me, I knew it needed to be in the film. Hopefully, that feeling translates to someone else as well.

PC: It definitely will. Kate, your performance is so nuanced and balanced—while we watch this character commit horrific acts, we also feel for her as she grapples with the grief and guilt of losing her mother. There are moments that tug at the audience’s heartstrings and others where you’re absolutely terrifying, especially in the final scene. How did you create the emotional space to navigate this character’s duality?
Kate: I was really nervous about figuring out how to play her sympathetically. I struggled with it for a while. It wasn’t until I started researching narcissism—how people with narcissistic traits perceive the world and see everything as part of their own story—that things started to click. I remember coming across a YouTube comment that completely shifted my perspective. It made me realize that this was almost a fantasy story, where the moral framework wasn’t the same as in the real world.

She has a goal, and there are going to be sacrifices along the way. It’s sad, but to her, it’s necessary—she truly believes this is the only way she can make the world better. She doesn’t see any other way to create meaning. That realization really helped me. I tried not to judge her decisions but instead looked at everything through her eyes.

PC: Herman, in a past interview, you mentioned that when you’re feeling sad, you often ask yourself questions to reflect on your emotions. When playing a character like Payton, who is in a similar mindset—wearing this mask—what kinds of questions do you think he would be asking himself?
Herman: Once I read the script and was attached to the project, I spent most of my flight embodying Payton. I tried to imagine how I would play him—how it would feel to make music, only to have my audience outgrow me, leaving me stuck doing something I no longer wanted to do. I don’t know if I had specific questions in mind, but I kept returning to this scenario: “I want to move on, but I can’t because this is my job. I have to keep doing it, even if it completely breaks me.” That feeling really stayed with me throughout filming.

PC: It’s also interesting that you have a dance background, yet there’s a lack of movement with this character. How did that change your approach?
Herman: One of the main reasons I became a dancer was because I saw an interview with Neil Patrick Harris, who I really looked up to as a kid. He said that his number one tip for actors was to dance more than you think is necessary. I thought that was great advice.

For this role, what I found fun was that even though he’s confined to certain spaces, we didn’t want him to be completely still. So I made sure to move around as much as possible within those limitations.

Emma: You worked that handcuff.

Herman: Yeah, it worked. Every time we started a scene, I’d ask myself, “How was I sitting last time? Let’s try something different.” It was really fun to explore movement within those constraints because, like you said, I usually rely on a lot of physicality.

PC: Amanda, speaking of processes, yours starts from the external inward. You often do deep sensory work. I’d love to know—what animal is Marnie? What’s on her playlist? What perfume did you wear for her?
Amanda: How did you know that? I’m very impressed. She was a hummingbird. I feel like Marnie vibrates differently from everyone else in the film—it’s the vibrations of a hummingbird’s wings. I wanted her to feel that way. You don’t always notice hummingbirds, but they bring such joy. They flit in and out, just like Marnie, who sweeps in and sweeps out. I wasn’t doing my usual animal work, but I still felt the essence of the hummingbird within her.

In my script, I would often reference hummingbirds as a reminder to keep my vibration level higher than everyone else’s—to be happier and more buoyant.

Justin: Oh my gosh, you were exactly that! That’s exactly what you were.

Amanda: Thank you.

Kate: Yeah, that’s insane.

Amanda: My playlist was full of ’90s boy band music, even though that’s not the sound of Sweetness. Emma and I talked a lot about how Marnie was stuck—not just in her head, but in her wigs, her outfits, and the period of her life where she peaked. She peaked in high school, and she never moved on. She wanted to stay there. Even though she’s physically a middle-aged woman, in her mind, she’s still nineteen and cool.

So I went back to the music I listened to when I was nineteen to bring those feelings back—to feel like I had Marnie inside of me. And because of that, it had to be Clinique Happy. That perfume was everywhere when I was in high school.

PC: Aya, chosen family is such a cornerstone of the relationship between Sidney and Rylee. First, I’d love to know—who has been that person in your own life who has held space for you the way Sidney does for Rylee? And secondly, there’s a tonal shift halfway through the film where you go from playing a carefree teenager who brings a lot of humor to navigating a much darker reality when you realize the lengths your friend is willing to go. How did you approach that?
Aya: You’re right. She goes from living a normal, happy-go-lucky life to thinking she’s above everyone else—until reality hits.

As for someone who has held space for me and helped ground my portrayal of Rylee and Sidney’s relationship, it would be my own best friend growing up. I have a childhood friend I’ve known since I was a baby—her name is Phoebe. We were roommates and grew up together, but we’ve also butted heads at times. There have been moments when we weren’t quite on the same page, but she’s someone who constantly keeps me grounded. She’s my family and my sister, and that sisterhood really translated into Rylee and Sidney’s dynamic.

Sidney’s family situation is unstable—her parents are neglectful—so her bond with Rylee is something deeper. They understand each other beyond their shared experiences of neglect. They know they only have each other, but at the same time, they both have a strong sense of independence as individuals.

PC: Emma, huge credit to you as well. The dialogue between Rylee and Sidney feels so organic and authentic to that age range—where Sidney is worried about not getting her driver’s license because of everything she’s done and is fixated on how her nose looks.
Emma: [laughs] Thank you!

PC: Justin, what’s so interesting about your character’s relationship with his daughter is how it represents the different ways grief can manifest. Rylee takes it to the extreme, while Ron completely shuts down. So much about your character is revealed through his actions rather than words. Without giving any spoilers, how did those final moments in the film inform your approach? Because it’s one of those revelations that will have audiences talking.
Justin: There’s this saying: “If you don’t transform it, you transmit it.” If you’re a parent and you don’t process your grief, you pass it down to your kids. You carry the sins of your father, the weight of your parents and grandparents, and all that karma. Ron exists in this bubble, doing everything he can to avoid feeling anything because he comes from a generation where men weren’t allowed to feel.

The final straw for him comes at the end when he finally wakes up to reality. He spends the entire movie running from it, and then, in that final moment, it’s like, “I love my f-cked up daughter.” To him, it doesn’t matter—he still has her, and that’s what’s important. I really saw Ron as having an arc where he changes in a positive way by the end. That was a choice I made—he would rather have his daughter, no matter what, than lose her entirely. So I had to work backward from that moment to build his journey.

PC: Emma, you took so many creative risks with this project, particularly in the ending. There are moments where it feels like a resolution is within reach, but you divert expectations. Over the ten years it took to bring this project to life, how much did that ending evolve or change?
Emma: That’s a good question. I’d say the ending has mostly stayed the same. There were always a few big question marks I wanted to leave audiences with—some around Justin’s character and some around Kate’s. So while the ending itself remained consistent, the journey to get there evolved. The A to C stayed the same, but everything in the middle shifted.

A lot also changed once we brought this ensemble together. For example, when I saw Herman’s audition tape, I decided to make his character a Norwegian pop star because we had Herman. So things continued to adapt throughout filming.

PC: For the cast—Emma wrote and directed this film. How different is that filming experience when the person who created these characters and this universe is also directing? How did the trust she instilled in each of you allow you to take more creative risks with your performances?
Justin: This film was really well written. We all read a lot of scripts, and scripts that have been around for eight, nine, ten years brew like fine wine. You can tell this one is layered and thoroughly workshopped—that’s how scripts should be done. I’ve done a lot of indie films over the years, and sometimes it feels like they’re rushed out too soon. You can tell this one had been marinated in the best way. As an actor, when you step into something like that, you almost don’t have to do as much. The writing is that strong. You just show up and read what’s there, and it works. They workshopped the hell out of it for years, and you can feel that in every line.

Aya: It’s a script that was truly brewed with love, dedication, and a strong vision. A lot of times, I’ll read a script and have no idea what the final movie is going to feel like. But after my first read of this one, I knew exactly what I was getting into. I knew this was the kind of movie that was meant for girls like me. Young women don’t often get to play in this space—we don’t get a lot of fun, gritty roles like this. So it was refreshing to see a new take on the genre. And Emma had such a clear vision. She was always prepared, always on top of everything. Every time she stepped off set, she had storyboards ready—everything was planned down to a tee. That gave us so much faith in her as a director. We trusted her completely because she’s amazing at what she does.

Herman: I remember at the beginning, Emma and I were supposed to have a quick catch-up about the script. It was meant to be a 45-minute call. I don’t even know how many hours we ended up talking—it was dark outside by the time we finished.

I went into that call ready to ask about my character—his mannerisms, what she envisioned for the performance. But the first thing she said to me was, “I trust you with this. I’m just here to help you along the way.” That approach made me feel so comfortable. It gave me the freedom to bring my own ideas, to make suggestions, to contribute in a way that felt collaborative. I never felt like she was going to bulldoze me or shut me down. She was open the whole way through, and that made me feel safe to explore.

Emma: I follow a piece of second-hand advice from Barry Jenkins—who is amazing. He once said something along the lines of, “Filmmaking is knowing what it is and knowing what it isn’t.” And that’s exactly how I approach it. I know what this film is, and when the ensemble is making choices, I can recognize, “Yes, that’s it—that still fits within the world and the character, or No, that isn’t quite right.” My job is to be the curator. Everyone brought such incredible ideas, and I got to shape and refine them into the final piece.

PC: That’s the flexibility you have with indie filmmaking. Emma, in your director’s statement, you mentioned that a film like this would have resonated with Young Emma. With this being your directorial debut and ten years in the making, what would you tell Young Emma about premiering at SXSW?
Emma: Young Emma would think this is the coolest thing ever. I was obsessed with movies and filmmaking. I was into music. The sheer fact that I get to do this now—that this is my life—I’d tell her, “Girl, relax. It’s all going to work out. Just keep going.” I’d give her a little sneak peek of what’s ahead.

Make sure to follow Emma (Instagram), Kate (Instagram), Herman (Instagram), Amanda (Instagram), Aya (Instagram), and Justin (Instagram).

Sweetness Screenings at SXSW:

• Sweetness at Alamo Lamar 9 – Mar 7, 2025 (9:30pm — 11:03pm)
• Sweetness at Alamo Lamar 2 – Mar 9, 2025 (10:15pm — 11:48pm)
• Sweetness at Alamo Lamar 7 – Mar 9, 2025 (10:15pm — 11:48pm)
• Sweetness at Alamo Lamar 6 – Mar 14, 2025 (3:00pm — 4:33pm)