Nathan Punwar '07 is an editor whose recent credits include Julian Brave Noisecat and Emily Kassie’s Sugarcane (Oscar® nominated; Sundance 2024 winner of the Directing Award, US Documentary Competition), Rachel Grady and Heidi Ewing’s Folktales (Sundance 2025), and two films with director Nadia Hallgren: Civil (Tribeca 2022) and Becoming (Emmy® nominated). His first feature as editor was an archival documentary for The Rolling Stones - Charlie Is My Darling, Ireland 1965 (NYFF 2012). His short form and episodic editing work has appeared on The New York Times, PBS, The New Yorker, Topic and Field of Vision, and he has directed his own short films that have screened at  the New York Film Festival and others.

 

What inspired you to become a filmmaker?

NP: I think you already know the answer most people give - growing up watching movies, falling in love with them, and loving the experience of going to the theater. For me, I really became interested in high school, when I got into independent films. Indie filmmakers were making really smart films on small budgets, and that was so inspiring. I just wanted to learn how to do that too. It also felt like a mix of all the different arts I loved: music, photography, and writing all coming together in one place, which just pulled me in even more.

 

Was attending the USC School of Cinematic Arts always part of your plan? Can you share with us your journey to ending up at SCA?

NP: At that age, I just thought “what’s the best film school out there? Let me apply to that one.” USC was considered the top choice, so I applied there, along with a few other schools, but not ones particularly known for their film programs. If USC hadn’t been able to offer me financial aid, there was no way I could have gone. I was fortunate that they came through for me in a big way, which made it possible for me to attend.

While pursuing your degree in Cinema and Media Studies, were there any classes, professors, or experiences that made a lasting impression on you?

NP: Oh, there were so many! For me, it was less about specific professors and more about the overall experience. As a Cinema and Media Studies major, I dove deep into film history, which was a completely eye-opening experience. Before that, my knowledge was pretty limited; I was only familiar with the films I saw in theaters and had little exposure to arthouse cinema or classics from the past.

I explored a wide range of courses, including several screenwriting classes for both TV and film, as well as production courses, and found the film library to be an invaluable resource. Streaming wasn’t a thing back then, so I spent countless hours watching DVDs and even LaserDiscs of films I wouldn’t have had access to otherwise. That experience was hugely formative for me.
 

Your work is primarily focused on editing and post-production. What is it about this specialized field that draws you in?

NP: For me, editing and post-production is something I’ve become increasingly drawn to throughout my career because it’s where you have control over every element, bringing everything together into a cohesive whole. It really connects back to what first drew me to film: the way it blends so many different art forms. Being the one to shape and synthesize all those pieces is, for me, the most exciting part of the process.

Many of your credits are in documentary editing. Do you find yourself more drawn to nonfiction and documentary storytelling than fiction? How does this influence your creative process?

NP: I’m actually equally interested in fiction and non-fiction, but what excites me most about documentary editing is the process of crafting and discovering the story within the edit. It's a collaborative experience, where you're constantly working alongside the director to feel your way through it. When you begin, you may have an idea of the narrative arc, but that will inevitably evolve as the project unfolds. Over time, I've gradually gained more confidence in finding that path, but in the beginning, it was definitely a daunting challenge. 

 

Congratulations on your recent projects, Sugarcane and Folktales, premiering at the 2024 and 2025 Sundance Film Festivals! With Sugarcane also earning an Academy Award nomination for Best Documentary Feature, what has this journey been like for you?

NP: Sugarcane was a truly special project from the very start. When the directors Julian and Emily and producer Kellen Quinn first approached me about the film, and I saw how they were filming with cinematographer Chris Lamarca, I immediately understood that they were striving to create an intimate experience - one that allows the audience to grasp a significant piece of history through deeply personal portraits of real people. This is exactly the type of documentary editing I’ve always wanted to do, but hadn’t yet had the opportunity to approach in this way.

The weight of the subject matter felt immense, and we were determined to do justice to the people who had agreed to share their stories. I had an incredible experience editing alongside my co-editor, Maya Daisy Hawke. We spent many weeks in the edit room together, finding the rhythm and pacing of the film.

I'm overwhelmed by the film’s reception, but it also affirms everything I felt about it from the beginning. Having that affirmation, especially being at the Oscars, is everything. You can pour your heart into a film and believe in it deeply, but sometimes very few people see it. To see people respond to it, and know that it will endure for years to come, means the world to me.

What was it like returning to Sundance this year? Was this your second time, or had you attended before as a filmmaker with projects other than Sugarcane and Folktales?

NP: I attended Sundance early in my career when I was writing, directing, and editing my own short films. I previously had a film at Slamdance, which was my ticket to the festival. It was there that I experienced Sundance for the first time, and in the back of my mind, I made it a goal to have a film there.

Folktales was such a special follow-up to Sugarcane. With each project, I’m trying to push myself to do something a little different, and Folktales certainly allowed me to explore new ground.

What made this experience even more meaningful was getting to work with Rachel and Heidi, two directors I’ve admired for years. I first saw them at USC when they were screening Jesus Camp on campus. I sat in the audience for the Q&A, and their work was one of the first documentaries I encountered that felt contemporary and made me think, “This is a path I could pursue.” All these years later, to be working with them is an incredible full-circle moment.

 

What do you find to be the most challenging aspect of working in documentary and nonfiction editing? How do you approach problem-solving and finding solutions in the editing process?

NP: I think the greatest challenge is being open to change throughout the process and adapting to it. As I’ve gained more experience, the challenges haven’t disappeared, but I’ve become quicker at coming up with fresh ideas, testing them out, and adjusting as needed. The key for me is not overthinking it, sketching out an idea quickly and being willing to let it fail spectacularly if necessary. Your edit becomes a dialogue between everyone involved, and the more you engage in that dialogue early on and throughout the process, the more comfortable you become with experimenting and ultimately finding the film it’s meant to be.

What advice would you offer to aspiring filmmakers and creatives looking to establish themselves in the entertainment industry?

NP: I would say, it's about finding collaborators you truly connect with - people you respect and whose vision aligns with yours. I’ve found that my most exciting work, from the beginning until now, has come out of these relationships, which have naturally led from one opportunity to the next.

There were certainly moments that felt uncertain, where I didn’t know what was coming next, but now it feels more like I’m working with friends. And I want to continue working with those friends for the rest of my career.

 

What’s next? Any future plans or projects in the works?

NP: I'm about to start another feature documentary. I actually just picked up a hard drive full of footage today and just turned it on, so I’m starting from the very beginning once again. It’s always a daunting place to be, but also an exciting one. I’m looking forward to what the year ahead holds.

Links:

punwar.co

Story by Emily Tutnick