This afternoon, director Josh Mond took a moment away from the whirlwind of Cannes to discuss his latest film, It Doesn’t Matter, which premiered in the ACID programme. Known for his deeply personal storytelling, Mond reunites with longtime collaborator Christopher Abbott and introduces Jay Will in this experimental, genre-blurring film. Here, he reflects on his creative journey, the challenges of independent filmmaking, and the significance of screening at Cannes.
The project, Mond explains, grew organically from recorded conversations. “It started with these talks I was having with my friend Oscar during COVID,” he recalls. “We were speaking every day, recording everything. At some point, I realised there was a film there.” Rather than working from a traditional screenplay, Mond and his team let the narrative emerge from real moments. “The film came out of something real—just talking, recording, and eventually shaping it into a narrative,” he says. “It was about making something honest and alive.”
Returning to work with Christopher Abbott was a natural decision. “Chris just gets it,” Mond says. “We’ve known each other so long that there’s this shorthand, a trust. He brings an honesty you can’t fake.” He also praises Jay Will, who was cast after Mond saw a music video he directed and performed in. “Jay had this energy that just felt right. No traditional audition—just an instinct that he could bring something new to the film. And he did.”
Screening It Doesn’t Matter in the ACID programme at Cannes felt like the right home for the film. “ACID is about filmmakers who find their own way of doing things, and that’s how we made this film,” Mond says. “Cannes can be overwhelming, but ACID surrounds you with people who just love cinema. That’s what makes it special. Independent filmmaking, as always, comes with its challenges. “You never have enough time or money, but that forces you to be creative,” Mond explains. “We shot in a way that allowed for spontaneity. Instead of writing a script first, we built the film in the edit. It was like making a documentary first and then shaping it into fiction. That process was incredibly freeing but also intense.”
Mond is also noted the the shifting and treacherous landscape for indie films. “Streaming has changed everything. On one hand, it’s easier to get your work seen, but on the other, it’s harder to stand out. That’s why festivals like Cannes and programmes like ACID are so important—they make space for films that don’t fit a formula.” He credits editor Alice de Montfort for introducing him to Chris Marker’s La Jetée, which influenced his approach.“ That film changed everything for me,” he says. “It made me rethink structure and how we were approaching this film.”
As for what’s next, Mond is open-ended. “I want to keep telling personal stories, but I’m thinking about different ways of doing that—pushing structure, visuals, form. I don’t know exactly what’s next, but I want it to feel alive.”
For Mond, filmmaking is ultimately about collaboration and trust.“ You can’t do this alone. You need people around you who challenge you, who believe in the process. That’s what keeps me going.”
With It Doesn’t Matter, Josh Mond continues to carve his own path—on his own terms, in his own way.