Peer Review: Jess Kohl

Who are three contemporaries that you admire?

It’s an exciting time for young British filmmakers in the narrative space, particularly those who haven’t historically been given a platform. Molly Manning-Walker’s debut How To Have Sex is brilliant, important filmmaking, and relatable to me as someone who grew up in a similar place and time. We’ve collaborated on commercials before, and seeing her ascent is inspiring. 

I love this authentic, collaborative storytelling mode and how he weaves in surreal elements, like time lapses or dream sequences.

Sohrab Hura is a New Delhi-based photographer who blends documentary with surrealist elements in a way I find really exciting. I’ve spent a lot of time traveling (and shooting) in India and have a strong affinity with the country, and he captures it in such a unique way.

Eliza Hittman is a filmmaker with an uncompromising, distinctive voice whose cinema blends authenticity with poetry. I’ve started working on my first screenplay recently and have been reading scripts of films that I love to learn the craft. I recently read her script for Never Rarely Sometimes Always - it’s restrained yet profound, even just on the page.

Above: Trailer for Molly Manning Walker’s debut film How To Have Sex (2023)

Please share 3-4 pieces of work that exemplify great direction. 

Chloe Zhao’s The Rider is a film I appreciate the direction and craft of. The blend of fiction/non-fiction is a space I’m really interested in. Zhao gleaned authentic yet dramatic performances from first-time actors who were playing fictionalised versions of themselves, shooting with a bare-bones crew yet making beautifully cinematic imagery. 

I don’t think I’d be able to work a monotonous job where I had to travel to an office every day. Not knowing what each day will bring is exciting to me. 

Gus Van Sants’ My Own Private Idaho has long been a favourite of mine. Again, the way he combines narrative with factual elements really appeals to me. The film centres around sex workers in Portland, and although the lead roles are played by known actors, many supporting roles are people from the community. I love this authentic, collaborative storytelling mode and how he weaves in surreal elements, like time lapses or dream sequences.

A recent film I was blown away by is Celine Song’s Past Lives. I didn’t know anything about the film going to the cinema, which is my favourite way of watching films, and it took me on such an emotional journey. The premise is quite simple, which I find often creates the most powerful work, maybe because it’s so widely relatable. 

Above: Trailer for The Rider (2017) directed by Chloe Zhao

What do you like most about the work that you do?

The process of bringing something to life that otherwise wouldn’t exist - developing a project from a bare-bones idea to a finished piece that you can share with an audience. My latest short, A Mouthful of Petrol, has screened at festivals and in cinemas around the world over the past year, and getting responses to the work in real-time, speaking with audiences after screenings is deeply rewarding in a way that differs from releasing work online.

I flew to the Philippines and made a short documentary about a group of street punks there. It was very DIY, just me and a camera.

I love how varied working on commercials is; it allows me to try out different collaborations, travel to new places, and learn about topics and themes I’d otherwise not have a reason to. And to give people opportunities - a campaign I shot recently involved young athletes meeting their heroes, and witnessing their excitement felt really special. I don’t think I’d be able to work a monotonous job where I had to travel to an office every day. Not knowing what each day will bring is exciting to me.

What was your journey to becoming a director/photographer?

I’ve been taking photographs since my teens, but I never took it that seriously. It took until my mid-twenties, having worked various menial jobs and feeling somewhat lost, to discover filmmaking. I went to university when I was 25, initially to study illustration, but I kept responding to briefs with moving images. I transferred to Central Saint Martins to study moving image and began developing my craft there.

I like how much more independent you can be as a photographer, that it can just be you and a camera. 

After graduating, I took an MA in Cinematography, thinking that might be the path I wanted to go down. Soon after I graduated, I flew to the Philippines and made a short documentary about a group of street punks there. It was very DIY, just me and a camera. The film had a great response, and things progressed from there. 

Above: Trailer for Past Lives (2023) directed by Celine Song

How does your photography practice connect with your filmmaking? 

The two can exist independently from one another or work in parallel. Sometimes, I use photography to explore a theme or subject I’m interested in before embarking on a film project. It’s a way to start gathering information and develop a visual approach before delving in with a film crew - I like how much more independent you can be as a photographer, that it can just be you and a camera. 

I’m a great believer in meeting your heroes - I’m not afraid to reach out to people who I admire.

What is one thing all directors/photographers need?

Having an overview of your vision and intended outcome for a project is important to have as a director. You need to be able to communicate this to different collaborators who may not be across the whole project, to get them excited about the work you’re making together. If you don’t have a clear vision, the work can lose focus.

Above: Trailer for Kohl's latest short, A Mouthful of Petrol

Who was the greatest photographer of all time?

The answer to this changes on a daily basis for me, depending on what I’ve recently seen and felt inspired by - so I’m going to cheat. Nan Goldin for how intimate and personal her work is and her ongoing activism. Diane Arbus for opening a space for female photographers working with themes outside of the mainstream. 

Filmmaking is increasingly accessible, which is amazing. It also means more people are making work than ever before - so you need to do more to stand out and craft a unique voice. 

William Eggleston for his use of colour that somehow feels contemporary regardless of age. Jim Goldberg for how he incorporates collage and writing into his work that adds depth and intimacy. 

Did you have a mentor? Who was it?

I haven’t had one specific mentor, but various people have been important to my career at different stages. Years ago, I assisted Niall O’Brian, whose photo series’ Good Rats’ I’ve always loved. His sets were some of the first I’d been on. Juliette Larthe, the founder of PRETTYBIRD UK, was an early champion of my work, and I learned a lot about the industry through her.

I’m a great believer in meeting your heroes - I’m not afraid to reach out to people who I admire. More often than not, the response is positive, and it opens a space for interesting dialogue.