A skeptical science major scours the streets of New York City, searching for proof of the afterlife.

Set against the vast backdrop of New York City, The Meeting Spot follows a skeptical science major as he embarks on an obsessive search for proof of the afterlife. As he scours the city’s streets and landmarks, his logical mind clashes with the unsettling, otherworldly occurrences that suggest there may be more to existence than he once believed. The film delicately weaves elements of suspense and romance, creating an atmosphere where love and loss blur the lines between science and the supernatural.

Directed by Lauren Sick, the film takes viewers on an emotionally charged journey, where grief becomes the catalyst for an existential reckoning. With a striking blend of haunting visuals, evocative sound design, and deeply human performances, The Meeting Spot presents a compelling exploration of belief, skepticism, and the unshakable connections that transcend life and death.

How did you approach the narrative progression and pacing to keep the story engaging throughout?

I always appreciate when a film doesn’t immediately give away all its answers, even when an audience might be craving them. I knew this story would be more powerful if told non-linearly, so from there it was all about calibrating the relatively slow burn of the first act—punctuating that section with enough intrigue to get the viewer invested in Ben, his character, and where he might be leading us on this journey.

The Meeting Spot balances moments of horror-like haunting with elements of romance. How did you navigate this delicate tonal blend in your storytelling?

It was a tightrope, for sure! I write mostly thrillers and psychological horror, and my co-writer Courtney Cilman has a background in more romantic films, so The Meeting Spot is the result of our powers combined.

In general, I find fear and love to be two sides of the same coin. All our worst fears are rooted in the potential loss of the people and things that we care most deeply about. So for me, the blending of those two ideas came pretty naturally. As Stephen King once said, “There can be no horror without love.”

Another big contributor was the music. Composer Jay Wadley and I found some specific chord progressions for the haunting sequences that, when shifted slightly, could also support the more romantic scenes. That subtle ebb and flow brought the whole film together in a beautiful, heartbreaking way.

The premise of a science major searching for proof of the afterlife is compelling. What inspired the story, and how did you approach developing the protagonist’s skepticism and curiosity?

There is so much in the universe that is beyond our understanding or comprehension, especially around what happens after we die. I think it’s easy for anyone to develop a worldview that feels unshakable, until we are confronted with something really tragic or life-altering. Grounding a character with such set beliefs, then crafting a story that forces him to challenge those beliefs, felt like an interesting narrative arc.

The afterlife is an expansive and philosophical subject. How did you decide on the visual and thematic representation of this idea in the film?

I wanted to keep anything that might be perceived as a sign from “the beyond,” or whatever you want to call it, very grounded in our world and in our lead character’s point of view. Small things like a light flickering in his apartment or the appearance of a pigeon on their park bench… Maybe Chloe is sending him a sign! Maybe the bird is Chloe reincarnated! Or maybe, more likely, it’s just a stupid pigeon. All of these happenings hold more meaning for Ben because he is so desperate to find meaning in her death, and to have Chloe’s idea of a “meeting spot” be real. Even down to the final moments of the film—we don’t quite know if she was ever really there.

The film’s haunting atmosphere is striking. What were some key creative choices in terms of sound design and cinematography to achieve this effect?

There were some really specific choices made around depth of field. When Ben is out in the world, revisiting each of these potential meeting spots, he’s seeking something that always feels outside of his grasp. So in these instances, everything around him is purposefully out of focus, lacking clarity. The opening shot of the film is very representative of this.

By contrast, whenever he’s in his apartment, studying his biology books, or in the sterile laboratory classroom, everything is much sharper. There’s a cleanliness, an order—because it’s what he understands.

Renai Buchanan and Juan Campos at The Sound Department did an amazing job with our sound design and mix. One sequence that we spent a lot of time on was the transition from the classroom to the club. The way the music spiked in volume for the quick bursts of flashback, how that beat worked in tandem with the sound design of the lights going dark, how the bass emulated a heartbeat that purposefully slowed down to a stop as Ben fully entered the flashback… All of these choices were meticulously designed to not only emotionally affect the viewer but to situate and orient them in our story’s timeline. I’m always in awe of the power of sound and its ability to do so much of the heavy lifting in such a visual medium.

The other answer is haze. A lot of haze. So much haze that we set off all of the fire alarms in the college where we were shooting.

The romantic element adds a deeply human touch to a story about the supernatural. How did you develop the chemistry between the characters to enhance this aspect?

We had a day of rehearsals where I had the actors do some of my weirdo ice-breaker theater exercises (to which they very graciously obliged), but to be honest, most of this was baked right into the casting. Ben and An-Li share a lot of similarities with their characters, even down to the way they like to work. An-Li likes to dig deep into philosophical themes, and allow herself to be taken over by the “magic” of the process. Ben is such an experienced and technically proficient actor, who really thrives with a few choice words of specific, tangible direction. Together I knew they would create a special dynamic that really supported the characters and the story.

The blend of science and spirituality is intriguing. What challenges did you face in crafting a protagonist who is grounded in logic yet driven by a search for proof of the unknown?

I think this character has always lived a life grounded in logic. He’s a fact-based, scientific mind. Anything intangible or unprovable never held any water for him until he was met with a grief so extreme that it forced him to seek answers outside of that paradigm. So it was really all about nailing how we rendered the specific events in Ben’s life that challenged his worldview.

The title, The Meeting Spot, suggests a significant location or moment. Can you talk about its importance in the story and how it shapes the narrative’s emotional core?

I’ve found that whenever a relationship ends (tragically or not) the physical places that held an emotional significance to the relationship take on a kind of haunted quality. It often feels like the ghost of that person or your memory of them remains there. And that felt like a pretty relatable idea.

In the end, the actual “meeting spot” isn’t any of the places that Chloe listed, but it is the place that Ben inevitably needed to end up. In a library, surrounded by all the scientific knowledge and philosophical theories in the world, finally recognizing that (as Chloe had always suggested) there are mysteries in this universe that we do not comprehend, but only dimly suspect.

What do you hope audiences take away from The Meeting Spot, especially given its unique mix of suspense, romance, and existential questions?

I just hope for what every filmmaker hopes for – that we created something that entertained and moved you.

What are the books, podcasts or even YouTube Channel that you recommend young filmmakers to get their hands on? 

I always recommend Making Movies by Sidney Lumet. I also recently read and loved Hits, Flops, and Other Illusions by Ed Zwick. For podcasts, I really dig Script Apart, Script Notes, Indiewire Toolkit, The Q&A with Jeff Goldsmith, The Big Picture, and the DGA podcast. My pals over at the Just Shoot It always have some great tips for young filmmakers across both the narrative and commercial space. I’ll also just say – it’s a noisy world. Take a walk. Be in nature. Get quiet. Sometimes that can be the most inspiring thing.

Can you share with us some of your favorite short films you’ve seen lately?

I’m going to give a shoutout to some of the films and filmmakers that have been with me on the festival circuit this year – HAAW by Joey Scoma, Transylvanie by Rodrigue Huart, and Les Bêtes by Michael Granberry.