By Lucy Spicer
One of the most exciting things about the Sundance Film Festival is having a front-row seat for the bright future of independent filmmaking. While we can learn a lot about the filmmakers from the 2025 Sundance Film Festival through the art that these storytellers share with us, there’s always more we can learn about them as people. We decided to get to the bottom of those artistic wells with our ongoing series: Give Me the Backstory!
“The world is in crisis, grappling with leadership styles that reward division and conflict,” says Michelle Walshe. Lindsay Utz agrees: “The world is at a perilous political crossroads. Trust in institutions, expertise, and liberal democracy itself are under dire strain.” Despite living in different parts of the world — Walshe is based in New Zealand and Utz lives in the U.S. — both filmmakers agree that a leader who chooses kindness can have a monumental impact on the whole world. They wanted to make a film about one such individual, a leader whom audiences could view as a role model in times of strife: The Right Honourable Dame Jacinda Ardern, former Prime Minister of New Zealand.
“Witnessing her lead New Zealand through some of our most turbulent times was profound,” says Walshe. “She navigated crises with empathy and a focus on humanity that felt completely novel and relatable at the same time.” Utz recalls similar feelings of admiration as she noted Dame Jacinda’s leadership from afar. “I have vivid memories of watching her press briefings during the height of the pandemic and wishing she were in charge [in the U.S.]. If someone had told me I’d get to make a film about her four years later, I would not have believed them.”
The film Walshe and Utz would make is aptly titled Prime Minister. The documentary — which includes audio diaries, footage of Dame Jacinda while she was in office, and home videos shot by her husband — premiered at the 2025 Sundance Film Festival, where it won the Audience Award: World Cinema Documentary. “I think it’s important for viewers to be reminded what knowledgeable, capable, compassionate leadership looks like,” says Utz. “And in this film, we get to see what that looks like not in the form of an article or a newsreel, but as a fly on the wall watching a personal journey unfold.”
Read on to learn more about the film and its co-directors, including their favorite things about working with Dame Jacinda and what advice they would give to aspiring documentarians.
Films are lasting artistic legacies; what do you want yours to say?
Walshe: This film invites us to rethink what leadership can look like. In a divided world, it’s a reminder that kindness and empathy aren’t weaknesses — they’re powerful tools for change and essential to building a more equitable future. I hope it inspires people to expect more from their leaders.
Utz: A documentary endures when it captures something critical about the current moment but speaks to future viewers as well. We are at a pivotal juncture when the compassionate politics Jacinda represents is under enormous duress. I think Jacinda can be a model for politicians, male and female, going forward. I hope this is also, in the end, a good story well told. It’s rare to have this degree of access to a politician, especially to capture her meteoric rise to power.
Describe who you want this film to reach.
Walshe: I hope it resonates with the next generation of leaders who might not see themselves reflected in traditional images of power. I want them to be inspired by Jacinda’s unapologetic approach to doing things differently.
Utz: I hope it resonates with everyone, but especially young women who might see themselves in Jacinda. We need more honest, empathetic, and humane leadership. I hope young women are inspired by her and motivated to lead even if they don’t particularly see themselves as leaders.
Your favorite part of making Prime Minister? Memories from the process?
Walshe: There was one moment in an interview where Jacinda shared something so personal that it felt like time stopped. I realized how much of herself she was trusting us with and it was emotional — I had to take a moment to gather myself. Those special moments are what keeps me going when the process of filmmaking gets hard.
Utz: After many years of working as an editor, it was a thrill for me to go back into the field and shoot. Michelle and I loved interviewing Jacinda and spending time with her in Boston. Her testimony is powerful, and the fact that we captured it just a year after her resignation meant that we caught her in a really quiet, reflective moment in her life.
Working with our editors Grace Zahrah and Enat Sidi was another great joy of this film. This is the third film I’ve done with Grace, and I’ve been working with Enat for almost 15 years. To say that these two women are brilliant is an understatement. They’re talented filmmakers and even better friends. I love them both dearly.
What was a big challenge you faced while making this documentary?
Walshe: Working across time zones — editing in the U.S. while co-directing from New Zealand — was logistically difficult at times. But the real challenge was carrying the responsibility of telling such an important story in a divisive time. It was a lot of pressure, but it came with immense privilege.
Utz: Jacinda is an incredible storyteller with impeccable delivery and comic timing. It became clear early on that having her voice anchor us throughout the film was going to be important. We wanted the audience to feel as close to her as possible. At the same time, we wanted viewers to see the past unfold in a propulsive vérité style. Jacinda’s voice is looking back as events are moving rapidly forward. It was tricky to achieve a balance between the two. I hope we achieved it! We never wanted her interviews to play as a master interview. We wanted them to feel like thoughts and ideas flowing seamlessly in and out of the vérité.
Tell us why and how you got into filmmaking.
Walshe: I’m endlessly curious about people. As a kid, I devoured documentaries, fascinated by how they made the world feel bigger and more connected. Filmmaking became the most natural way for me to explore the questions I have while sharing stories that matter and can
impact people and the planet for good.
Utz: I started as a director, producer, and editor in my 20s. I co-founded the video department for GOOD magazine, where I produced many projects, including a daily news show, an international mini-doc series, and a graphic design series. Eventually, though, I realized my heart was in the edit room, and I transitioned to cutting feature documentaries full time for over a decade. Now, as a director, my career has come full circle. I absolutely love being involved in all aspects of the filmmaking process.
Why is filmmaking important to you? Why is it important to the world?
Walshe: Stories shape how we see ourselves and the world around us. At its best, filmmaking doesn’t just entertain — it fosters understanding, builds empathy, and can be a catalyst for action.
Utz: My idea of a perfect career is to get to make movies with my friends. In such dark times, art is light and the creative process is healing. I love that filmmaking brings people together for a common cause. In the case of this film, two countries and two teams came together to make something bigger than ourselves. Many hands carried this film at various points over the years. It’s a miracle when you finish it. That kind of teamwork is an inspiring thing.
If you weren’t a filmmaker, what would you be doing?
Walshe: I’d still be working on projects that aim to make an impact — whether that’s through my tech company that helps kids stay in sport, or eventually repurposing our farm to regenerative practices. Storytelling is such a big part of who I am that I’m sure I’d find a way to weave it in!
Utz: About a decade ago, after a particularly exhausting finish to a film, I thought about quitting film altogether and starting a kombucha company. That’s so funny to me now. I’m glad I didn’t! Making films is still exhausting (every single one!), but it’s truly a labor of love.
What is something that all filmmakers should keep in mind in order to become better cinematic storytellers?
Walshe: Documentary filmmaking is about connection. Beautiful shots and technology are great, but if your story doesn’t resonate emotionally, none of it matters. My golden rule when interviewing is to throw away the questions and stay curious. Instead of moving to the next question, ask, “Why?”
Utz: With documentaries, it always comes down to the edit. Understanding the craft of editing, building the right team, and making sure you have enough time for the film to realize its full potential are tantamount.
What was the last thing you saw that you wish you made?
Walshe: Three Identical Strangers. It’s a master class in storytelling — gripping, emotional, and thought-provoking. I couldn’t stop thinking about it long after seeing it.
Utz: For narrative, Jonathan Glazer’s The Zone of Interest. For documentary, Garrett Bradley’s Time.
Which of your personal characteristics contributes most to your success as a storyteller?
Walshe: Curiosity. My friends call me “Questions” because I can’t help myself — I want to know everything about everyone. That genuine interest in people drives me to dig deeper and get closer to the story.
Utz: The ability to concentrate for long stretches of time and an obsession with problem-solving. After so many years of editing, I think your brain just starts working like that. Editors are emotional architects, and knowing how to shape emotion and guide the audience is the essence of filmmaking. Having that background made me feel confident in my abilities as a director. Even when we were in the field, I had a clear sense of what we were capturing and how it would all fit together.
Tell us about your history with Sundance Institute. When was the first time you engaged with us? Why did you want your film to premiere with us?
Walshe: This is my first film at Sundance, and it’s always been the dream. To have their endorsement and support is surreal — it’s a huge milestone and testament to the importance of this story.
Utz: This will be my seventh festival. I’ve come to Sundance as press, as a shorts director, as a juror companion, and as an editor on three feature docs. So many formative memories, friendships, and inspiration over the years.
