Last month, acclaimed filmmaker Barry Jenkins spoke with Academy Award-nominated documentarian Bing Liu about Liu’s decision to direct a fiction feature for his newest project. The film, Preparation for the Next Life, adapted from Atticus Lish’s 2014 award-winning novel, explores the complex relationship between an undocumented immigrant and a U.S. military veteran in New York City. Originally developed as a series to be directed by Jenkins, the project eventually found its way to Liu, with Polish playwright Martyna Majok penning the script. The conversation, held over Zoom amid a busy press day, delved into the creative choice to switch genres, themes of cultural identity, and the casting process.
Exploring the ‘Why Not?’ Behind Directing Fiction
When Barry Jenkins asked Bing Liu why he moved from documentary to narrative filmmaking, Liu’s simple yet profound response was, “Why not?” The pair first connected at Mountainfilm Telluride, where Jenkins was on the jury that awarded Liu’s documentary Minding the Gap. Liu recalled Jenkins encouraging him to try fiction, planting a seed that eventually grew into directing this film adaptation. Jenkins explained that Liu’s version captured the essence of the novel in ways Jenkins himself had struggled to do during earlier attempts to develop the story. He likened watching Minding the Gap to experiencing a film like The Shawshank Redemption, noting its ability to carry viewers on an organic yet carefully organized journey.
“Oh, I just went on the same kind of ride I go on when I watch something like The Shawshank Redemption,”
Jenkins said.
“I’ll take it. I love that film,”
Liu responded.
Understanding the Cultural and Social Layers of the Story
For Liu, the story’s resonance came from personal experience, growing up as an outsider in the Midwest during the ’90s and 2000s. The novel’s central character is half Uyghur, a detail that fascinated Liu because of the character’s unique cultural background rarely seen in mainstream media. He explained that the Uyghurs are a Muslim ethnic group from northwest China, speaking a Turkish-related language, distinct from Mandarin, with a complex history often misunderstood in the West.
“Part of what drew me to it is that I know what it was like to be an outsider growing up in the Midwest in the ’90s and 2000s,”
Liu said.
Liu emphasized his desire to portray the Uyghur community as a fully realized culture with deep historical roots, contrasting against stereotypical or simplified representations prevalent in Western coverage.
Choosing Fresh Faces: The Challenge of Casting Lead Roles
Casting the lead character presented significant challenges due to the linguistic and ethnic requirements. The protagonist had to be fluent in Mandarin, English, and Uyghur, and authentically represent a half-Uyghur, half-Han Chinese identity. Liu and his team ultimately cast Sebiye Behityar, a full Uyghur in her first year at the Savannah College of Art and Design, whose natural charisma and language skills stood out in a flood of auditions.
“Sebiye just had that thing that makes somebody so watchable and draws you in. There’s something kind of magical about her, just her aura,”
Liu said.
They adapted the script to emphasize the character’s full Uyghur identity after casting her, deepening the story’s cultural authenticity.
Finding the Perfect On-Screen Partner for a Two-Hander
The film also stars Fred Hechinger, who plays Skinner, the military veteran and key counterpart to Sebiye’s character. Liu described their chemistry read vividly, recalling an informal meeting at a Taiwanese restaurant. He was struck by Hechinger’s relaxed yet intriguing mannerisms, comparing the accidental chili oil stain on his shirt to a Jackson Pollock painting.
“Yeah, there’s something about the way this guy carries himself that I think is really interesting,”
Liu observed.
Liu was inspired by Hechinger’s performance in the series The Underground Railroad, noting a “chip on his shoulder” and palpable tension that suited the character perfectly. Jenkins praised Hechinger’s range, highlighting his ability to be both controlled and wild as required for the role.
Blending Documentary Techniques with Fiction Storytelling
Although documentary and narrative fiction filmmaking are different crafts, Liu brought certain documentary sensibilities to the editing and visual construction of the film. Jenkins noted that some sequences gained a romantic quality when treated like captured moments, with spontaneous and unplanned energy that blossomed during editing. Liu cited films like Moonlight and We Need to Talk About Kevin as inspirations that showed how narrative films could play creatively with time and structure, a concept that made fiction filmmaking feel less foreign to him.
“Oh, you can do that in fiction filmmaking as well,”
Liu said, recognizing his growing confidence to experiment beyond traditional storytelling methods.
Decisions Behind the Film’s Trailer and Its Musical Score
Jenkins asked about the choice of music for the film’s trailer, noting that the piece he favored from the film’s score was not used. Liu explained that an experienced trailer editor was involved and that he ultimately trusted the trailer to be its own entity, tasked with generating excitement rather than representing all aspects of the movie’s soundtrack.
“I think this movie’s so hard to cut into a trailer, so I’m just going to trust that the trailer is its own thing,”
he said.
Looking Ahead: Bing Liu’s Creative Vision for the Future
As the interview closed, Jenkins asked Liu about his future plans. Liu reflected on the magic of life and his Sagittarius moon sign, which he interprets as a driving force to explore and pursue curiosity. His creative ambitions continue to span both documentary and fiction, driven by a desire to push boundaries and discover new stories.
“Life is magic. Life is literally a miracle,”
Liu said.
“Barry, you should do documentary. You are really good at asking questions and drawing things out of people,”
Liu suggested.
“I’m going to stay in my lane, bro,”
Jenkins replied with a laugh.
The Significance of This Collaboration
The collaboration between Barry Jenkins and Bing Liu represents a unique crossroad where documentary and narrative cinema intersect. Liu’s leap into fiction, supported and inspired by Jenkins, highlights a creative evolution fueled by authenticity and cultural nuance. This project not only amplifies underrepresented voices, such as the Uyghur community, but also exemplifies how filmmakers can expand their storytelling methods to convey the immigrant experience in America with depth and realism. As Preparation for the Next Life streams on Amazon, audiences have the opportunity to witness a compelling portrayal shaped by Liu’s personal insights and Jenkins’ mentorship, marking a significant step in contemporary independent cinema.
