♪♪ I'm scared.

Why?

Please come home.

Because my mom is not moving.

Mom.

Mom!

♪♪ Sargent: I am the middle child of 11.

My parents had four biological kids.

They adopted seven kids, and the youngest one is Anna.

And I've always been really worried and wondering what will happen to Anna as we grow older.

I was just sort of, um, concerned about this, and my parents didn't really want to talk about it.

They weren't sure what was going to happen next.

It's like, "Where is my own life, and where is my responsibility to them, and how do these collide?"

Park: For Liz, actually, to see her vision become this beautiful film and how it's such a personal project for her.

So to see it being embraced and to -- and for her to be able to see the impact, it's just so exciting, and I'm thrilled for her.

Sargent: A lot of the pieces of the scene and the dialogue are from conversations that I've had with Anna -- like, directly pulled from them.

I wanted to take that huge challenge to figure out, "How are we going to make a film with her having very little short-term memory?"

Sugihara: It was really how beautiful the relationships were, but yet very tender and nuanced.

And so I can really see why the finished product is striking so many emotional chords.

Yeah, until that's taken care of...

There's no one I can call?

...then there's really not much else... Yeah.

...I'm able to help you with.

You can't do anything else.

That's great.

Okay.

Well, thank you very much for nothing.

Goodbye.

[ Inhales sharply ] [ Sighs ] Are -- Are you okay?

Does it look like I'm okay?

No.

Park: Moments when the camera kind of lingers on Anna's face, when she's not saying anything, but in through her eyes, it really comes across that she has complex thoughts.

She's working through something in her mind.

She might not have the words at that moment to say it, but you see it happening in her eyes, and it's so powerful.

Zablocki: Been involved with Liz and this film since its origins, actually, and have been supporting this project.

I've been a fan of her work and thought that the importance actually was a sibling story.

We don't see enough of those.

What was the best part was that, when the scene -- when we -- we would cut, um... Anna and I would check in with each other, and we -- and she'd always come up.

She goes, "I was just -- That wasn't real.

I wasn't really mad."

I was like, "I wasn't mad at you, either.

Thank you."

The way that I approached this is -- And I think Liz told me this, too.

She said, "Don't be afraid to be mean."

Because at their core, they're siblings.

They're sisters.

We aren't always on our best behavior around our family.

Sargent: That's how I respect Anna as a dimensional human, is that we're not precious with her and careful with her, that we can also be sick of her and exhausted.

And, yeah, that's real family to me.

The biggest thing I took away was that -- how important it is to tell everyone's story.

Zablocki: Disability is not just about the person with the disability, but actually about the network around them, too.

It's not necessarily the parents' or the siblings' responsibility.

It is an American, like, healthcare problem and that there should be more support, and we shouldn't just lay it on the families.

I'm blown away that -- that this story has actually resonated with such a huge audience, because it's just so personal, and sometimes it feels like a diary entry.

And so for the world to share those feelings that I have means a lot to me, and to see Anna celebrated on screen is just -- it still is emotional and overwhelming.

♪♪ ♪♪