This year’s Slamdance Festival featured a lot of hard-hitting films. However, Yun Xie’s Under the Burning Sun outclassed every other movie in the festival by talking about a subject that is considered taboo in many communities. Set in a dystopian world where abortion is outlawed, Mowanza (played by Stephanie Pardi) finds herself trapped in a relentless battle for bodily autonomy. Struggling to terminate an unwanted pregnancy, she faces obstacle after obstacle in a barren, oppressive land that denies her the right to choose. Desperate for a way out, she learns about Iropus, a distant nation with more lenient abortion laws. With nothing but a half-empty water bottle and a battered car, she embarks on a perilous journey, determined to reclaim control over her fate.
As she navigates this unforgiving landscape, Mowanza crosses paths with Mavis (played by Stevie Kincheloe), a survivor of domestic abuse, sharing moments of fleeting love and deep sorrow. Along the way, an abandoned little girl offers a brief glimpse of comfort before the road ahead turns even darker. Nearing the border of Iropus, her journey takes a final, fateful turn when her car collides with a wolf—an omen of the dangers she has faced and the uncertainty that still awaits her. Mowanza’s story is a powerful reflection of resilience, autonomy, and the harrowing lengths one must go to in pursuit of freedom. We got a chance to talk to the trio: Yun Xie, Stephanie Pardi, and Stevie Kincheloe about the films and its themes.
The Interview with Under the Burning Sun’s Yun Xie, Stephanie Pardi, and Stevie Kincheloe
[Editor’s Note: This interview has been lightly edited for clarity.]
Aayush Sharma: The barren landscape is almost a character in itself, shaping the film’s atmosphere and Mowanza’s journey. How did you use the vast, unforgiving desert to visually and thematically reflect her emotional struggles, resilience, and transformation? In what ways does the setting intensify her physical challenges and inner turmoil?
Yun Xie: First of all, I don’t know why, but from the very first second—not exactly the first second, but at the beginning—I started having this idea. Somehow, I could see that you know, like the director, we are virtually seeing that it is going to swallow the movie. But yes, whatever the case, I had this strong image in my mind: a woman carrying a bucket with a bleeding uterus, walking in a desert. I don’t know why, but this image is really strong for me. Somehow, I don’t even feel like I made it up. It just came into my mind, as if I were merely a visual storyteller depicting this vision rather than creating it. I think this image is more of a metaphor. The whole story has a fable-like quality. I really liked your questions—the barren, bleak land is a metaphor for the situation women live in within that world. They are not supported; nothing nourishes them. Additionally, you can see the woman constantly scratching her shoulder. This reflects her anxiety, insecurity, and many other emotions.
When watching a movie like this, the atmosphere remains heavy throughout. But when you finally see the lush, warm spring land, it evokes a completely different feeling.
Aayush Sharma: Mowanza’s journey is as much an emotional battle as it is a test of physical endurance, with her inner turmoil reflected in every step she takes. How did you immerse yourself in the role, both mentally and physically? What specific preparations—whether through research, training, or personal reflection—helped you embody her struggles and resilience on screen?
Stephanie Pardi: This was my first acting role, and honestly, I owe so much of what I was able to bring to Yun. We went out to the desert two days before we started shooting, and that’s where we really found the character together. Yoon gave me some incredible exercises, helping me discover her physicality—how she walks, how she moves—because so much of her character is physical rather than verbal. Having those two days beforehand was incredible. Before we left for the desert, we also had a day with Stevie. It was me, Stevie, and Yun in a dance studio, where Yun directed us and gave us exercises. During that session, we were able to start forging a beautiful bond. It also gave us an initial taste of our characters’ body memory, which played a crucial role in shaping the performances.
Aayush Sharma: Mavis is a character of striking duality—strong and self-sufficient as a car mechanic in a traditionally male-dominated field, yet deeply vulnerable in the confines of her abusive marriage. How did you approach balancing these contrasting elements of her personality and how did you ensure that neither aspect overshadowed the other?
Stevie Kincheloe: As a woman, I believe that with the deep vulnerability many of us carry in our daily lives, there is also an incredible strength required just to exist in the world. I genuinely feel that these aspects are already present and need to be present in all of us in our daily lives. That naturally channeled through me in portraying a mechanic. These qualities feel very present to me already. It was not an easy thing to bring, reveal, and film. However, I related deeply to my character, which really helped me find my way into the role.
Aayush Sharma: Your film includes a particularly striking line spoken by Stephanie’s character about God, where she references Mary becoming pregnant without her permission. This line is undeniably powerful and could be seen as controversial, especially among those with strong religious beliefs. When you were writing this dialogue, what was the thought process behind crafting this particular line? Did you anticipate it sparking controversy, and what message were you hoping to convey through it?
Yun Xie: Before answering this question, I want to acknowledge that this line is quite controversial. I understand that it may come across as aggressive to religious people. When we applied for permission to shoot in the church, we even changed the script to secure approval. I’m really grateful for that, and I’m sorry I had to do it. First of all, I have absolutely no problem with religious individuals. Not at all. However, I think what is important—and something we often overlook—is that the entire narrative of human history has been written by men. I cannot blame specific people for this because it is a deeply rooted societal structural issue. This ties into another question regarding why I chose not to show the faces of the men in the movie. I don’t see this as one man’s problem. In that kind of society, under that particular narrative, this is simply what men might do. But if we placed them in a different environment, human beings—along with all the evils and complexities inside us—would behave differently. It all depends on the environment.
Circling back to the topic of God, I have no issue with God. I see God as a representation of a higher power—whoever holds that power in society. In many ways, religion functions like another form of society, just like government or any other structure of authority. As an immigrant originally from China, my generation grew up under the one-child policy. That meant the government made decisions about women’s bodies—limiting them to one child, imposing fines for having more, and in extreme cases, enforcing abortions in rural areas. Now, in America, Roe v. Wade was overturned, and in some states, abortion is forbidden. To me, it’s the same thing. Whether it is the government, religion, or any other ruling power, the issue remains the same: those in power make decisions about women’s bodies instead of women themselves. This has gone unquestioned for so many years. People rarely discuss the fact that Mary was impregnated at 13 without her consent. It is almost treated as a taboo subject. But I believe these are the kinds of conversations we need to have.
I don’t intend for this movie to serve as a slogan or a political statement. I simply want to bring these taboos into discussion.
Aayush Sharma: Your performance carries the weight of the film, especially in moments of silence and stillness. If I could say that, and because I am interviewing you, your eyes and facial expressions gave us an idea of what your character was going through, which was phenomenal. Were there any specific techniques you used to maintain emotional tension without dialogue?
Stephanie Pardi: Since this was my first role when I saw the full script and spoke with Yun about its origins, I realized how important and intimate this story was for her personally, as well as for women and men in general. For me, that meant doing everything I could to fully commit to the role. Throughout the shoot, I remained very private and very quiet. When we weren’t filming, I would often go off on my own. This even led to a moment where the first AD got a little annoyed with me, wondering, “Where is she?” My costume also blended into the desert, making it even harder to find me. At that point, I didn’t have a toolbox or a formal acting technique to rely on. So for me, the best approach was to completely immerse myself in the role and maintain my privacy on set.
Aayush Sharma: Mavis is a woman who has been broken down by years of abuse, yet she still extends kindness to Mowanza. How did you ensure that Mavis didn’t become just a tragic figure, but someone with depth and quiet strength?
Stevie Kincheloe: Under the guidance of Yun, I was able to develop the intricacies of the character, particularly the duality that you mentioned earlier. It was important to both Yoon and me that the character was never portrayed in a simple or one-dimensional way. When you’re a victim of domestic violence, the situation is never straightforward. It’s not as simple as not making a choice—there is manipulation, control through fear, and a deep psychological struggle. To depict a woman as merely a victim, eliminating all aspects of her power, personality, or inner world, would be a disservice to the reality of such experiences. This role, this film, and the way Yun has written it allow us to see a real person. The depth is present in the writing and the relationship Steph and I were able to build together. Through that, you see all the layers and intricacies of a human being.
Because the subject matter is difficult, it’s easy to simplify it—to make the person just one thing. But I am truly grateful to Yun, Steph, and the entire team for allowing us to present a full, nuanced picture.
Aayush Sharma: Before I get to the final question, I want to offer massive congratulations to the team on winning the Audience Award for Best Narrative Feature at the Slamdance Festival. How are you guys feeling about it?
Yun Xie: I was, of course, feeling surreal because I wasn’t ready for that. When you watch the film, you see that the topic is kind of controversial, and the way we present it could be disturbing for some people. So I was really nervous about whether people were going to like it. But I was really, really overwhelmed by how much love and support I received from the audience. Yeah, it’s really, I feel like, beyond grateful.
Stephanie Pardi: I was honestly just so proud of the whole team. You, of course, I’m sure we’ll get into this, but this is Yun’s first feature film, which is absolutely incredible. Also, our DP—this was his first feature, and we had such a small crew, yet there was so much heart and dedication. So, just getting this award, I felt so much gratitude for being a part of this project and so much pride for everyone who put all of their love and talent into this.
Stevie Kincheloe: I was—I’m just, again, so proud of everyone involved. So proud of you, so proud of Steph and her incredible performance, and our producers and the whole team. It’s really been a magical, dream-like experience. For many of us, it was our first feature—it was mine as well—so just seeing what we could accomplish on all of our debut features was incredible. I was shocked, I was so surprised. I think Steph and I, all of us, lit up and just, you know, scurried to the stage. It was such a moment. And then you gave an incredible, inspiring speech, and I know she’s such an inspiration to so many people who were there.
Aayush Sharma: This film is deeply political even when it doesn’t show any leaders and all that. With what has happened in the recent past, do you believe that films like this have a moral responsibility to take a firm stance on bodily autonomy, or is it more powerful to let the audience grapple with the implications themselves? Did you feel an obligation to make a clear statement, or were you more interested in sparking conversation?
Stephanie Pardi: One of the most interesting and sad moments during our final days of shooting was when Roe v. Wade was overturned on one of the days we were filming. That was incredibly poignant, and having those two events collide was deeply impactful for me. Storytelling, in my view, is inherently political. There’s no way to completely avoid making a statement—whether it’s through the director’s vision, the cinematography, or the overall narrative, a message will always come through. For me, however, the most important takeaway is not necessarily that someone leaves with a politicized perspective. Rather, I hope they walk away with a deeper understanding and greater empathy. In that sense, this film is also for male audiences. My hope is that they leave the experience with a better understanding, rather than feeling like they are being spoken at or criticized. Ultimately, the goal is for them to walk away with empathy.
Stevie Kincheloe: I feel that, of course, there is a political aspect to the film. However, as an actor, the best way I can serve that is by being so immersed in the world and in my character that it creates a lasting impact. You are aware of what is happening in the world and politically, and that awareness provides immense fuel as an actor. It allows us to pour deeper into our characters. But ideally, when action is called, you are so fully immersed in the story that all of that energy is funneled into the performance, which is what the audience ultimately witnesses. I feel that is really important. I would also say that, while the film is very extreme—Yun has even used words like disturbing—it portrays nothing that is not already happening in the world. The difference is that Mo is responding differently than women are responding to these issues right now. This is the reality—it is simply set against a barren landscape, with Mo reacting in her own way. Thankfully, we had such a powerful lead who was able to channel that energy into something truly impactful.
Yun Xie: I echo everything Stephanie and Stevie said. We feel like we have been together for so long, and we kind of think alike. But yeah, I agree with everything they’ve shared. First of all, I know this is a film where you can never avoid political topics, but I am never a political person. Even during the Roe v. Wade situation and everything that happened, I never really participated in any of the strikes or movements. The same goes for the Stop Asian Hate movement—I never joined any of them. That does not mean I am not interested. Of course, I am. I have a strong bond with the Asian community and with women’s society. But I just feel like yelling slogans doesn’t feel right to me. I’m not sure if you understand, but I feel that for all of these complicated and difficult questions, there is no single answer or solution. From my girlhood to my womanhood, I have carried all these questions with me—what does it mean to be a woman? Why do I constantly feel pain as a woman? Why are there so many times I feel like I lack choices and feel powerless as a woman? These questions have no single answer. I wish there was one, but there isn’t.
That is why I made this film—not to provide answers, but to ask questions. Like at the end of the movie, when Mo walks into the desert holding the ice bucket with her uterus. We don’t know where she is going. Because it’s not about the destination, it’s about the journey. The most important statement we can make is to keep asking questions and to keep the conversation going. We should not make these topics taboo. Let’s talk about them. Through conversation, we might get closer to the answer, even if we never fully reach it. But the journey itself is more important. I also agree with Stevie that people are calling the movie disturbing, but it is hypocritical that we can label a film disturbing while ignoring these same issues happening in real life. So, yeah, I understand that reaction.
Under the Burning Sun recently screened at the Slamdance Film Festival.
Learn more about the film at the Narval Films site for the title.
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