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Four years ago, Academy Award-winning actress Marlee Matlin experienced the excitement of a Sundance Film Festival premiere when the touching indie film “CODA” made its debut, eventually selling to Apple for a record $25 million and securing the Oscar for Best Picture. This year, Matlin has the unique opportunity to attend Sundance in person for the premiere of her documentary titled “Marlee Matlin: Not Alone Anymore,” which captivated a full house at the prestigious Eccles Theatre in Park City, Utah, on Thursday.

“You just gave me chills,” Matlin shared with Variety just days before the festival, reflecting on the emotional experience of seeing her life story unfold on the big screen in front of an audience of strangers. “Being at Eccles and opening the festival is pretty cool, I have to say,” she added, highlighting the significance of this moment in her career.

In a recent Zoom call featuring the documentary’s director, Shoshannah Stern, alongside their interpreters, Jack Jason (Matlin’s long-standing interpreter) and Karri Aiken (who collaborates with Stern), they discussed the distinct differences between this documentary experience and Matlin’s revealing memoir titled “I’ll Scream Later,” published in 2010.

In her memoir, Matlin openly shared deeply personal anecdotes about her unexpected and lifelong hearing loss at just eighteen months old, her tumultuous journey through the highs and lows of Hollywood after becoming the first deaf actor to win an Academy Award for her breakout role in “Children of a Lesser God,” and the challenges of navigating an abusive relationship with her co-star, the late William Hurt. Even though some may view the documentary’s revelations as “old news,” the way these stories are presented in the film offers new insights, largely due to Stern’s innovative framing.

“Written words are different from visual storytelling,” Matlin explains. “When it’s in print, you lack the tone, but expressing myself visually through American Sign Language is an entirely new experience.” Stern adds, “I told Marlee that a book is like a monologue — it’s a one-way street. A documentary, however, allows for dialogue — it’s a back-and-forth exchange.”

“Not Alone Anymore” presents Matlin’s story in a refreshingly unique format: the film is structured around Stern’s intimate interview with Matlin. The duo appears together onscreen, seated across from each other on a cozy sofa, using ASL to communicate, with no voiceover, only vibrant, colorful captions to convey their dialogue.

“I had no idea that this would be the setup until I walked into the interview. I thought, ‘Okay, fine, we’re going to sit together on the sofa,’” Matlin recalls. “I didn’t know what Shoshana had planned until I saw the film and thought, ‘Oh!’ I just allowed everything to flow naturally. I just let go and embraced the moment.”

The only thing Stern advised Matlin beforehand was, “Wear your cute socks.”

Exploring the Unique Directorial Approach of Shoshannah Stern for Marlee Matlin’s Documentary

SHOSHANNAH STERN: Marlee had a clear vision of what she wanted. She possesses extraordinary instincts. Being the first person to navigate this territory, she wanted to stay connected with those instincts. Similarly, my instinct guided me to direct this documentary, leading to a synergy that felt natural.

I recognized early on that the conventional documentary styles I had in mind were typically sound-based. In most cases, directors sit behind the camera, converse with the subject, and then create various cuts with voiceovers, especially when interviewing a deaf individual. This sparked my curiosity: “What does a visual-based documentary look like?” I realized this could be incredibly impactful, aligning with the film’s title, “Not Alone Anymore.” In our interviews, Marlee and I share the space equally, engaging in a dialogue that is far more dynamic than a traditional interview, allowing Marlee to express her thoughts fully and guiding the narrative of our story.

Marlee Matlin’s Vision for a Deaf-Centric Documentary: The Importance of Authentic Representation

MARLEE MATLIN: When PBS and American Masters first approached me about creating a biography of my life, I was open to the idea and felt honored. I believed it was essential that it be directed by a deaf director. They responded positively, expressing their openness to the concept. For me, it was all about viewing through a deaf lens, which brings authenticity to the narrative. I mentioned, “I know someone—Shoshannah Stern.” They asked, “Has she directed before?” I replied, “No, but everyone has to start somewhere.”

I felt confident it would be a perfect match because Shoshannah and I have known each other for many years and have always engaged in meaningful conversations. She’s an excellent listener with impressive instincts. I knew she could tell my story in a way that felt genuine, raw, and real—no fluff. Given that we both faced similar circumstances in many ways—my identity as a deaf woman and her experiences as a deaf director—we understood each other deeply, even sharing a similar sense of humor.

Uncovering New Insights: Moments of Discovery During Filming

MATLIN: I’ve always been an open book, eager to share my story with others. While I sometimes hold back due to trust issues, I generally express what’s on my mind. Shoshannah has a unique talent for drawing out my thoughts; she creates an environment where I can lay my cards on the table, regardless of what they may be.

The Artistic Choices Behind Captions: Enhancing Accessibility in Film

STERN: For me, captions carry significant weight. They are my means of accessing the world and receiving information. Even now, as an adult, when I dream, if I see two hearing individuals talking, I see captions. However, like many elements in our world, captions are often designed by people who don’t share our lived experiences. Why is there always just one color for captions? It’s challenging to identify who is speaking, especially with multiple speakers. The standardization of captions often fails to convey the richness of conversation.

In film, there are opportunities to push the narrative more creatively. The more creatively accessible the content is, the better. Yet captions have remained quite conventional. While they have evolved somewhat over time, they still largely follow the same format. When I reflect on captions in my memory, I see the outdated styles that fail to engage fully.

When it comes to “Children of a Lesser God,” it’s interesting to note that Marlee’s character never had her own captions or subtitles. Throughout the film, Marlee’s character is silent, relying on James to voice her lines, which are captioned, while her character Sarah, who uses sign language, remains uncaptioned. We were able to provide captions for Sarah in our film for the first time, which was incredibly emotional. [wipes away a tear] I apologize for my emotions.

MATLIN: That’s the mark of an authentic storyteller.

STERN: It’s emotional for me because I’ve never witnessed this before.

MATLIN: It’s about time someone did that. This is [Shoshannah’s] film and she’s telling it her way, reflecting our lived experience. That’s what it’s all about. I am incredibly proud to be associated with her and to feature in her debut film.

STERN: I felt compelled to ensure that this opportunity was not squandered. If I attempted to mimic the traditional style of other documentaries, I could never truly be myself. I wanted to make things better—for Marlee, for myself, and, of course, for all the deaf individuals who will watch this film. It’s essential for them to see that change is possible.

MATLIN: This film encompasses multiple layers of stories and messages, addressing various issues that the deaf community has faced for generations. My narrative is just one way to convey the experiences of deaf individuals—highlighting oppression and resilience. It is because of Shoshannah that we can share this story effectively.

STERN: I have always believed that Marlee’s story is both extraordinary and ordinary; I aimed to showcase both aspects simultaneously.

Celebrating Marlee Matlin’s Impact: Reflections from Fellow Artists in the Deaf Community

MATLIN: Hearing the testimonials from others, such as Lauren Ridloff (from Marvel’s “Eternals” and a Tony Award nominee for “Children of a Lesser God” on Broadway), about how my journey and advocacy have inspired them is incredibly humbling. This was my intention; I wanted people to see what I have accomplished and how my experiences resonate as a deaf individual. While I have always felt alone in my journey, this film serves as a reminder that I am not. It allows me to discuss my roles as an actress, a mother, and the various facets of my identity, and I hope to inspire others. It’s about spreading hope and faith. That’s why I’m not alone anymore.

The Significance of Captioning: Honoring Marlee’s Legacy in Accessibility

STERN: Regarding the captions, which Marlee has advocated for since the 1980s, including at Sundance when she served as a juror in 2013—lavender was chosen for Marlee’s captions because of her iconic Oscars gown. [Matlin wore a lavender gown to the 1987 ceremony where she won best actress.]

MATLIN: I didn’t know that!

STERN: Additionally, she wore a lilac shirt during one of our initial interviews, and during the dinner scene, she donned a similar hue. I have a strong sense of colors based on people’s energy—whether it’s their aura, spirit animal, or totem. I felt a strong connection to the different individuals in the film, which guided my choice of colors for captions.

Working closely with the talented deaf artist Alison O’Daniel on this aspect was a joy. She premiered a film at Sundance two years ago titled “The Tuba Thieves,” and I loved the synchronicity of Marlee advocating for captions and then seeing those captions elevated by another deaf woman in a film about Marlee’s life. Witnessing the final captions filled me with emotion and excitement.

Anticipating Surprises: What Viewers Can Expect from Marlee Matlin’s Documentary

MATLIN: I anticipate there will be some surprises, particularly towards the end, where I signed to a Billy Joel song. I had the opportunity to sign for Billy at his home in New York City during the 1980s, when he was married to Christie Brinkley. I performed, I believe, three songs for him, and he watched them on a home video camera. If anyone has access to Christie Brinkley, it would be amazing to see if she might still have that footage. [Shoshannah] surprised me during the initial screening by asking if it was alright to include it in the end credits. I said, “Yes, of course.”

The Emotional Connection to “My Life”: A Song that Resonates Deeply

MATLIN: Yes, it is very special to me. It happens to be my father’s favorite song.