Llaima Suwani Sanfiorenzo is a Puerto Rican filmmaker and interdisciplinary artist. She was born in Florida and raised in the countryside of the Caribbean island. She studied at the International School of Film and Television in San Antonio de los Baños, Cuba. She won a scholarship to study cinematography in Potsdam, near the German capital. Since 2014, she worked as a cinematographer and film producer on various short films. Her directorial debut And Still the Seed, which premiered at the Atlanta Film Festival earlier this year. Our writer Joshua Polanski – who now interviews Llaima – argues that the filmmaker “skilfully connects the destruction of Puerto Rican greenery with colonialism and colonialism’s economic cousin, capitalism”

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Joshua Polanski – What was the seed that started And Still the Seed?

Llaima Sanfiorenzo – The film is a commissioned work made with love and purpose. I was invited by an organisation in Puerto Rico focused on planting trees to create a meaningful piece, named Para la Naturaleza, who at the same time were invited to an Environmental Film Festival and needed a film to show up. As a filmmaker, I saw an opportunity to go beyond the initial commission and craft my own vision, incorporating the aesthetics I’ve developed in Puerto Rico, Cuba and Germany where I have made my career as a filmmaker. The producer of the film, Rígel Lugo, just called me directly and said you are the person to make this film, and I know it will be great. That trust built this film.

JP – Where did you find the inspiration for the imagined voice of a 600-year-old tree?

LS – It was essential for me that the narrator of the film be a witness to the island’s last moments free from colonisation. So I needed something 550 years and plus. The voice of the tree embodies a sorrow for those taken to Europe, reminding us of the treasures lost in history.The idea of giving voice to an ancient tree allows us to connect with its history and wisdom. It symbolises the collective memory of nature, expressing the experiences and struggles it has witnessed over centuries, which often remain unrecognized in our modern narratives. I interviewed my father and asked him to talk as if he was the tree.

JP – Did Gabriela and Leidy’s knowledge about plants and preservation change your film in any way?

LS – Working with Lydia and Gabriela was transformative. We engaged in creative writing exercises that brought out their deep love and care for seeds and trees. Their insights not only enriched the film’s narrative but also shaped the emotional depth of the story. Their expertise helped me portray the interconnectedness of all living things and emphasised the importance of preserving our natural heritage. When I met them one week before shooting, I had written another script and they appeared. I asked the producer, give me 24 hours to rewrite the script, and then Laydi and Gabriela entered as protagonists.

JP – What motivated the decision to credit non-human life depicted in the film?

LS – This decision serves as a metaphor in film language. By crediting non-human life, I wanted to make them the protagonists, highlighting their vital role in our ecosystem. It’s a nod to Hollywood’s star system, where the cast is listed prominently, but here, it’s the trees and creatures that deserve recognition for their contributions to our world.

JP – What was the hardest shot to get and what made it difficult?

LS – We shot for five days, and each day brought its own challenges, from difficult locations to managing the crew and the oppressive heat. The hardest shot was capturing the 600-year-old tree, which lives deep in a dry forest. We ventured far into the wilderness and ended up needing to be rescued. Additionally, during ocean shoots, we lost the production car keys and had to call for help, adding to the adventure and stress of filming.

JP – What did you see in the puppet show about colonialism’s environmental impact that a more typical narrator approach wouldn’t enable?

LS – The puppets are crucial; they represent the past living in the present, brought to life by talented puppet artists. Including them in the production was vital for me as a director, adding a playful yet poignant element to the story. The company, Y No Había Luz, has been creating puppet art for over 20 years, and directing these puppets in the forest felt like a journey back in time, embodying the rich cultural heritage of Puerto Rico.

JP – What’s one thing you learned on this project that you hope to bring into your next project?

LS – This project has been profoundly significant for me. The crew was incredible – sensitive, intelligent, and focused. I learned to embrace risk-taking in storytelling. The bold choices I made ended up resonating emotionally, allowing audiences to connect with the urgent need for environmental conservation and the importance of protecting our planet.

JP – Do you have anything in the works?

LS – Yes! I’m currently developing a new project that explores the relationship between culture and the environment, this time focusing on the sounds of nature and how they influence our experiences. I’m eager to dive deeper into this theme and create a sensory experience that connects audiences with the beauty and urgency of our natural world. Additionally, I’m working on a new script that I hope will be my first feature film. This project aims to resonate with the creativity and commitment we, as Caribbean filmmakers, have to preserve our heritage, culture, and environment. I’m excited to see how these narratives can inspire and educate audiences about our unique ecosystem and history.

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Llaima is pictured at the top of this article. The image in the middle is a still from And Still the Seed.