Rob Nilsson, a veteran filmmaker whose journey started in the streets of Mill Valley and wandered north through Marin County towns, now finds himself the subject of a new four-hour-plus documentary called The Way Things Seem to Be. Directed by Zhan Petrov, the film premieres March 29 at the Smith Rafael Film Center in San Rafael and offers a revealing look at Nilsson’s improvisational, actor-driven approach to cinema.
With an intermission and a pile of clips from Nilsson’s decades of work, the documentary tries to educate cinephiles about a kind of filmmaking that values emotional resonance over conventional awards. The project grounds itself in Nilsson’s Marin County roots—from his Mill Valley adolescence to his current Berkeley base—while looking back over a half-century of low-budget, human-centered stories that just don’t fit Hollywood’s mold.
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The Documentary and Its Premiere
Petrov’s four-hour portrait doesn’t just profile Nilsson’s methods—it places them right in the heart of his beloved Marin hometowns. From the redwood-scented hills of Mill Valley to the artsy corners of San Rafael and San Anselmo, there’s a sense of place you can almost smell.
The Smith Rafael Film Center hosts the local premiere, a kind of homecoming for this “Mill Valley boy” whose work helped shine a light on the region’s indie-cinema spirit. The screening, with support from longtime ally Mark Fishkin and the California Film Institute, promises a rare, extended encounter with a director who’s spent much of his life reimagining how intimate, character-driven stories should be told.
What to Learn About Nilsson’s Method
The Way Things Seem to Be puts Nilsson’s love for real people, improvised dialogue, and nonprofessional casting front and center. You’ll see clips and scenes that show his dedication to atmosphere and mood over shiny production values.
For Marin County audiences, the film offers a closer look at a filmmaker whose work—rooted in places like Mill Valley, Tamalpais High School, and the streets of the Tenderloin—always chases authenticity instead of glamour.
Nilsson’s Marin Roots
Nilsson moved to Mill Valley as a teenager and got swept into a local scene that encouraged artistic risk. He attended Tamalpais High School and got involved in school life and countercultural circles that shaped his later voice as a storyteller.
He’s now based in Berkeley, but those formative years in Marin—especially in the shadow of the Golden Gate Bridge and the quiet redwood landscapes of Larkspur and Corte Madera—are part of who he is as a filmmaker.
From Mill Valley to the Camera
Early on, Nilsson found some success as a poet before he switched to painting and filmmaking while teaching English in Nigeria. That winding path—anchored by his Marin upbringing—gave him a steady compass for crafting dramas that focus on character and ethical nuance, not just star power.
Throughout his work, his connection with Marin County audiences holds steady, and the documentary highlights this with care.
Influences and Style
Nilsson’s work owes a lot to John Cassavetes. You can see it in his focus on ordinary people and stories that feel like life just happening.
He admires films that reveal intimate, unscripted truths—especially when they’re performed by nonprofessional actors. It’s become a trademark of his projects, many of which took shape in and around San Rafael and other Marin communities.
Nonprofessional Actors and Workshop Casting
Nilsson often cast actors from his workshops, creating performances that felt unscripted and lived-in. The documentary shows this through old clips and new interviews.
This approach fits with the Marin-rooted ethos of authenticity—a quality that gets lost in a lot of today’s cinema. It’s a reminder of why Modoc County-shot parts of the Nomad Trilogy still hit with rural, intimate realism.
Notable Works and Milestones
Nilsson’s career includes the 1979 Cannes standout Northern Lights, co-directed with John Hanson, which won the Caméra d’Or at Cannes. Other projects, like the Tenderloin-set 9 @ Night and the 2009 feature Imbued with Stacy Keach, keep coming back to characters on the margins.
His later Nomad Trilogy, shot in Modoc County, stretches the landscape of his intimate, human-centered storytelling. In the Bay Area, these films are celebrated as part of Marin’s independent-film tradition—a point of pride for San Rafael and the wider Marin County arts scene.
The Cannes Triumph and Beyond
The documentary highlights Nilsson’s resilience—making meaningful cinema with limited resources. Local film buffs from Novato to Fairfax will probably appreciate that.
It also spotlights how the California Film Institute and the Smith Rafael Film Center have supported his work, keeping Marin’s film legacy connected to its lively present.
Behind the Camera: Zhan Petrov and Cinematography
Petrov, a 33-year-old Ukrainian immigrant who first worked with Nilsson on Center Divide, brought a stark black-and-white look that sets the documentary’s tone. His collaboration inspired Nilsson to open up for this expansive portrait.
The film’s visual language reflects the same blunt honesty that defines Nilsson’s best work. It’s not slick, but it’s real—and that’s the point.
Center Divide and a New Light on an Old Favorite
Mark Fishkin and the California Film Institute have thrown their support behind the project. It really puts Marin back in the spotlight as a home for independent cinema.
For folks from the San Francisco Bay to Tiburon and Sausalito, the documentary feels like a timely nod to a local legend. This person’s life and films still spark something in new filmmakers across Marin County—and honestly, way beyond that, too.
Here is the source article for this story: ‘There’s a lot to tell’: Former Marin filmmaker subject of new documentary
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