From 1992’s Orlando to The Tango Lesson, few have the same capability to encapsulate passion as Sally Potter. Arguably one of the most prolific women in film, with a career spanning over four decades, the British director and writer has a boundless art for capturing deep connections on celluloid, opening up the finer nuances of human relationships in carefully staged fragments.

Shifting her focus from features, Potter condenses a story of hostility-turned-to-tenderness into new short film Look at Me – starring Javier Bardem and Chris Rock. Taking place over the course of rehearsals for a fundraising gala, the Oscar-contending film follows the struggle, and subsequent connection felt, between Bardem’s volatile-yet-brilliant drummer, and the gala director, played by Rock. Set to the rhythm of a progressively-building drum beat, and the tapped out movements of dancer Savion Glover, the tension between the two leads speaks of Potter’s emotionally-charged craft, expanding steadily to the point of explosion – a narrative motif and score honed with contributions from percussionist and STOMP co-creator, Luke Cresswell.

Shot in New York and London, Look At Me sees Potter working, once more, alongside cinematographer Robbie Ryan and long-time collaborator, producer Christopher Sheppard. A testament to how her own means of connection shape the passionate interpersonal interplay she has made a signature, Potter’s captivating short depicts how professional loyalties forged behind the scenes can reveal themselves through the fictitious attachments she gives life to on screen…

What initially conjured the film’s narrative in your mind?

Bringing the three unique performers – Chris, Javier and Savion - together in one cohesive short story. Alluding to themes of unjust incarceration, problems of addiction, and the complexities of relationships without explanation or polemics.

Is there a specific feeling you wanted the film to convey?

The explicit tenderness between two men who, despite everything, truly love each other; which is revealed as the film ends, but is perhaps how their story truly begins. I am looking for what excites and intrigues me to write (as I write all the films I direct) – stories that have hidden layers I can explore, characters whose trajectories are surprising, themes that resonate and feel urgent.

What about Javier Bardem and Chris Rock inspired you to cast them in these roles?

They’re such splendid and individual presences! I was aware that this would be unpredictable casting as a pair, and that was a thrilling prospect. What they have in common is a deep seriousness of intent. Stand-up comedy is a demanding form; you are totally exposed on stage. Big film roles are another form of exposure. So the vulnerability that is part of every performer’s life became part of the bed of experience to draw on whilst working on the roles and the scenes. They were generous and committed in the working process and located both anger and tenderness in the characters they were playing.

What drew you to Savion Glover’s movement work?

Rhythm is behind everything we do – whether heartbeats or breath or footsteps… we live in a sea of rhythms. Drummers can tap into this primal force. Savion Glover, a unique and supreme tap dancer, creates rhythms with his feet. The story is held in the crosscurrents between these two ways of experiencing and creating beats.

Can you share some background on the shoot?

We shot the interiors in London for four days and the rooftop in New York City for an afternoon, through into darkness. The great Carlos Conti, who I have worked with on five features, designed the brilliant sets and we searched together in New York, tirelessly, in freezing conditions, for the rooftop that plays such an important part in the story.