Mia Zhang's Vision Shapes the Dark World of "Only the Good Survive"

Perspective is a powerful force; it molds history and defines our sense of self. Often, we compromise our own perspective in pursuit of others' aspirations. Only the Good Survive, which premiered at the SXSW Film Festival, plunges this concept into a dark abyss, compelling us to re-evaluate our identities and motivations. As the film's editor, Mengyao Mia Zhang wields her own sense of perspective with remarkable potency, establishing a truly riveting tone.

Director Dutch Southern had such profound faith in Mia's abilities that he frequently granted her creative carte blanche—the filmmaking equivalent of entrusting your child to someone else's upbringing. Zhang confirms this collaborative process, stating, "Dutch would often say during our editing sessions, 'Whatever you think is best' and 'That's up to you,' which is quite uncommon. While he had a clear vision in the broader direction, he gave me a lot of freedom to play around with."

This trust undoubtedly stemmed from Mia's enthusiasm for the project. She remarked, Only the Good Survive has a very unique style, which was fun for me to work on because this kind of film doesn’t come along often. The first time I read the script, I was immediately captivated. The writing was exceptional and conveyed a distinct tone. I could almost see the film unfolding through the pages." Indeed, Only the Good Survive is a convoluted and bizarre thriller-horror with prominent dark comedy elements, presented with a genre-blending, punk-rock sensibility. It's the kind of film that excites both creators and audiences alike.

Subtle Nuances and Pivotal Moments in the Edit

The editing in Only the Good Survive immediately asserts its strong presence. The opening moments seamlessly blend surreal animation, intense action sequences, and a police interrogation, designed to convey the protagonist's complex emotional state. Brea Dunlee (portrayed by Sidney Flanigan, known for her work in the Berlin International Film Festival Silver Bear Grand Jury Prize winner Never Rarely Sometimes Always) guides us through her "interview" with Sheriff Cole Mack (Fred Weller, from the Oscar Award-winning Spike Lee film BlacKkKlansman).

Her journey involves romance, robbery, and a self-defined moral high ground adopted by various characters, including Brea herself, a local cult leader (Jon Gries, of the Primetime Emmy Award-winning series The White Lotus and the cult classic Napoleon Dynamite), and Faye Dunlee (Lachlan Watson, known for her work on the Primetime Emmy Nominated Series Nashville).

A masterful example of Mia's editing prowess occurs when Sheriff Cole asks Brea, "Have you ever heard of Faye Dunlee?" Mia inserts a subtle, delicate pause, hinting that something is amiss without drawing undue attention or suspicion to Cole. It's a delicate moment that marks a pivotal point for astute audience members.

Mia's gentle yet commanding presence is even more evident in the film's final scene. She explains, “I believe that the ending of a film is just as important as the opening, as it is what the audience will be left with. The ending scene of this film is morally contradictory. On one hand, Brea loves the baby and her late sister wholeheartedly. We root for her successful revenge and trust that she and Ry will be good parents to the baby, but at the same time, to achieve this she chooses to sacrifice two innocent people who have no idea about her plan. This seemingly twisted moral standard harkens back to the film’s title, ‘Only The Good Survive’. What is goodness? Are they the good ones? I wanted to bring out their human and vulnerable sides the most so that the audience could temporarily set aside moral judgments about her entire course of action and focus on this small family, feeling joy in their reunion and a sense of triumph in ridding themselves of the cult monsters.”

Audiences at the SXSW Film Festival premiere universally praised this extraordinary filmmaking. Full of real-world danger but careful not to preach, Only the Good Survive evokes both deep feeling and profound thought.

Evoking Empathy in "Smile As You Kill"

Mia's talent for navigating morally ambiguous narratives is also showcased in filmmaker Michael Sarrow's Smile As You Kill, the winner of Best Feature Film at the Iowa Independent Film Festival. This crime thriller stars Rey Goyos (from the Apple TV+ Primetime Emmy Nominated Series Shrinking) as Rico Allende, a man driven to extreme measures to secure proper medical treatment. A searing critique of the contemporary healthcare system, Smile As You Kill blends realistic scenarios with a dark humor that seems to declare, "This is what happens when business usurps medical treatment."

Mia elaborates on her editing goals for the film: “In this film, one of the primary goals was to evoke empathy for Rico, allowing the audience to understand his motivations behind the kidnapping and to root for him in achieving his objectives. Simultaneously, it was important to make the audience like Terry’s character (Michael Teh of the Primetime Emmy Nominated Series Criminal Minds), even though he displays some selfish and egotistical traits. I like the challenge of my work when it requires me to try and convince the audience to like a character when it would be so easy not to.”