Amsterdam New Cinema Film Festival
INTERVIEWS
to the
Producer Rachel Delovino
What initially drew you to this project, and what made you want to brin
I was initially drawn to the project because the choreographer, Jordan Pelliteri, had an idea to use a larger cast of dancers, and to use dancers from different dance studios across Phoenix and Tucson Arizona, what we call "The Valley". The idea of using dancers from competing dance studios and competing dance teams was intriguing. I have two missions for my film production company, to bridge the gap between dance and film, bringing dance films to movie theaters for exhibition AND to build community. So, the idea of utilitzing 20 dancers from 7 studios aligned with my mission.
Producing a film that combines dance and experimental storytelling can be complex—what were the biggest production challenges?
The biggest production challenge was finding 5 consecutive days that these very busy teenagers could take the time for rehearsal and principal photography. We compromised by having two days of rehearsal and two days of filming, but we did have to schedule shooting of scenes around some dancer's schedules. These kids are highly sought after for summer intensives, and a couple of the kids did have to change flight schedules so that they were able to be on the set for filming.
How did you support the director’s vision while managing practical constra
One thing I did to support the director's vision was to have two RED V Raptor cameras filming simultaneously so that we could get additional footage without having to do extra takes (which would have required another day of principal photography.) I am fortunate to have a director, Levi Elizaga, who is a master at improvisation. I mainly support his vision by stepping aside and allowing him to discover shots in the moment. I aim to foster a culture of curiosity and collaboration with my heads-of-departments. That means consulting between the choreographer and director and coaching them on how to communicate with other between these two very distinct fields.
The film has a very strong visual identity—how important was it to invest in production design and cinematography?
Ah, yes. The production design. The design and build out of the practical set was essential to the success of ROOMS. I was lucky enough to have been introduced to Art Director, Kristen Meiners. Kristen came up with a plan to "fly" walls in and out throughout principal photography to give the illusion of 5 different rooms. We filmed in a warehouse where we built a basic u-shaped practical set and flew walls in and out to create different sized rooms. But we had a problem... the production designer had designed each room with a specific color to maximize mood and to tell the story the choreographer and director wanted to tell. And I did not have the budget to add additional labor and lumber to build out each room. Instead, the art team, expertly directed by Kristen, painted and wallpapered between scenes. Yes! Between scenes. It took everyone on set to make this happen. The 2nd AD rolled up her sleeves and picked up a paint brush. The production manager grabbed a power drill and removed set dec. It was an incredible show of team work and collaboration that was incredible to watch.
What do you hope audiences take away from Rooms, especially in a festival context?
What I hope audiences take away from ROOMS is the realization that Hollywood doesn't own visual stories/film/movies. Ordinary people made ROOMS--people with extraordinary talents, dreams to chase, and with something to say. What is the message of ROOMS? I have my own ideas, but the ideas that matter are the ones the audience expresses. That is the delicious mind-bending nature of ROOMS. It is exactly what the audience needs at that moment. And is that not what cinema should be? A narrative that makes the AUDIENCE the hero.
and the
Choreographer Jordan Pelliteri
How did you approach translating the emotional themes of Rooms into movement and choreography?
During a trip through rural Iowa with my mom, I became deeply inspired by the abandoned houses and farms we encountered. Walking through these empty spaces, I was struck not only by their physical stillness but by the lingering emotional weight they seemed to carry. I began to imagine the lives that once filled those rooms, constructing different scenarios shaped by distinct time periods and human experiences. In one, I envisioned a traditional family from the early 1900s, their routines and relationships echoing faintly through the walls. In another, I imagined a woman marked by the aftermath of three failed relationships, her presence heavy with longing and resilience. I also explored the stories of women suppressed under the authority and dominance of white men, reflecting on the tension and silence embedded in those histories.
As these narratives unfolded, I created a fragmented, dreamlike sequence: a distorted room where the main character descends into a nightmare, overwhelmed by the emotional residue of the spaces she has encountered. This culminated in a central room where all these imagined ghosts converge, their stories colliding and coexisting. Throughout this process, I allowed my movement to emerge intuitively, guided entirely by the emotions these scenarios evoked. Rather than choreographing predetermined steps, I responded physically to each imagined reality, letting feeling dictate form and presence.
The film blends narrative and dance—how did you find the balance between storytelling and abstraction?
It felt natural for both the narrative and choreography to develop because of my trip to Iowa, where I was physically present in those abandoned houses and farms. Being in those spaces allowed me to fully absorb their atmosphere—the quiet, the emptiness, and the emotional weight they carried. When I began creating, I could easily return to those sensations, recalling exactly how it felt to stand in each room and imagine the lives that once existed there.
Can you describe your collaboration process with the director in shaping the physical language of the film?
My relationship with the director throughout the making of the film was deeply collaborative and built on open communication. From the beginning, he approached the concept with a willingness to listen and adapt, creating an environment where ideas could be shared freely. He consistently checked in with both the producer and me, making sure he fully understood our vision and where we wanted the storyline to go. That level of attentiveness made the process feel aligned and intentional.
Once the direction was clear, he brought the piece to life through his visual storytelling. His ability to guide the camera with precision ensured that the audience’s attention was always exactly where it needed to be.
Each room seems to carry a different energy. How did you develop distinct movement styles for these spaces?
Each room was developed with a distinct identity, shaped by the specific atmosphere and emotional tone we wanted to convey. We approached every space as its own world, drawing from slightly different time periods and designing accordingly—from the furniture and layout to the overall mood and texture of the environment. These details helped ground each room in a unique sense of place, allowing the audience to feel the shift in time and energy as the film moved from one space to another.
Because of this, the movement within each room also evolved differently. The choreography was influenced by where the dancers existed in time, how they connected to the specific storyline of their room, and how the surrounding atmosphere affected their physical responses. Each dancer embodied their environment in a distinct way, allowing the movement to reflect not only the narrative but also the emotional weight and sensory qualities of the space itself.
What challenges did you face in choreographing for the camera rather than for a live performance?
Choreographing for film felt more natural and, in many ways, easier for me than choreographing for a live performance. With film, I was able to guide the viewer’s attention very intentionally through the camera, rather than relying on an open stage where the audience has multiple choices of where to look at any given moment. That level of control allowed me to be more precise with how movement, emotion, and narrative were experienced.
