Riz Ahmed and David McKenzie on Their New Thriller 'Relay'

Summary

Podcast Title: All Of It
Host: Alison Stewart
Episode: Riz Ahmed and David McKenzie on Their New Thriller 'Relay'
Release Date: June 9, 2025
Featuring: Riz Ahmed (Actor), David McKenzie (Director)

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Introduction

In this episode of All Of It, host Alison Stewart delves into an in-depth conversation with actor Riz Ahmed and director David McKenzie about their latest film, "Relay." Screening at the Tribeca Film Festival and set for a theatrical release on August 22nd, Relay promises to be a gripping addition to the thriller genre.

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Overview of "Relay"

"Relay" centers around Riz Ahmed's character, Ash, a mysterious fixer who operates in the shadows to protect whistleblowers. Uniquely, Ash remains silent for the first thirty minutes of the film, communicating solely through body language, eye contact, and a telecommunications relay service designed for the deaf and hard of hearing.

Alison Stewart introduces the film:
"The film Relay features actor Riz Ahmed, but he doesn't speak for the first half hour of the movie..." ([00:40])

Riz Ahmed elaborates on the relay system's role:
"The relay service allows people who are hard of hearing or deaf to communicate effectively, and in the film, Ash uses it to maintain anonymity." ([07: # missing])

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The Relay System as a Thriller Anchor

David McKenzie explains the significance of the relay service in the film's suspense:
"The Americans with Disabilities Act prevents the relay operators from disclosing any information. Calls are not recorded, making it untraceable. Ash uses this outdated analog technology to stay ahead of those tracking his digital footprint." ([03:04])

This cat-and-mouse dynamic sets the foundation for the film's tension, as Ash navigates protecting his clients from corporate threats using methods that outpace modern surveillance.

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Character Development and Acting Choices

Riz Ahmed discusses the challenge of portraying a character who doesn't speak initially:
"Acting is about listening and being present. Without relying on words, I focused on body language and presence to convey Ash's inner world." ([08:54])

Alison Stewart adds her perspective on acting without dialogue:
"Every conversation in this film is tense. The absence of spoken words forces the audience to engage more deeply, mirroring Ash's guarded nature." ([09:06])

The decision to limit Ash's verbal communication heightens the film's suspense and deepens the audience's connection to his character.

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Themes and Storytelling Techniques

The film explores the gray areas between saving individuals and exposing larger systemic issues. Ash often faces moral dilemmas, balancing the protection of vulnerable whistleblowers against the potential to reveal significant truths.

Alison Stewart reflects on Ash's internal conflicts:
"There's a trade-off between saving individuals and saving the world. Ash constantly grapples with whether to protect people or to uphold a greater principle." ([21:43])

Director David McKenzie describes the film as a slow burn:
"It's about building up to something unexpected, revealing layers that keep the audience engaged and guessing." ([14:20])

This approach ensures that the narrative unfolds organically, maintaining suspense without relying solely on high-octane action.

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Filming Locations and Production Insights

Shooting took place across various iconic New York locations, including Times Square, Grand Central Station, Jackson Heights in Queens, and the back of a yellow taxi. The fast-paced shooting schedule—capturing 35 scenes in three days—added a dynamic energy to the production.

David McKenzie shares his experience:
"Shooting on live streets brings an organic feel to the film. The vibrant backdrop of New York City adds authenticity and excitement to every scene." ([23:43])

Alison Stewart complements the director's vision:
"The specificity of New York's texture allows the story to come alive, making every scene feel immediate and real." ([24:34])

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Conclusion

"Relay" stands out as a unique thriller that blends traditional storytelling with innovative communication methods. Through compelling performances and a meticulously crafted narrative, Riz Ahmed and David McKenzie invite audiences to navigate the intricate dance between secrecy and truth.

Alison Stewart wraps up the discussion:
"With its blend of action and quiet tension, 'Relay' offers a fresh take on the thriller genre, promising to keep viewers on the edge of their seats." ([25:48])

For those interested in exploring the depths of modern surveillance, anonymity, and personal redemption, "Relay" is poised to be a must-watch film this summer.

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Notable Quotes:

• David McKenzie ([03:04]): "The relay services do still exist, but that technology is what Riz's character Ash uses to try and stay ahead of people who are able to track his digital footprint."

• Riz Ahmed ([08:54]): "Acting is about listening and just being present. It was a pure experience of what acting often is."

• Alison Stewart ([09:06]): "Every conversation in this film is really tense. There are no casual conversations."

• Alison Stewart ([21:43]): "There's a trade-off between saving individuals and saving the world."

• David McKenzie ([14:20]): "I've always felt it was a slow burn movie... aiming to take you along a winding road and reveal some things unexpectedly."

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Upcoming Screening:
"Relay" is currently screening at the Tribeca Film Festival and will be available in theaters starting August 22nd.

Transcript

[Alison Stewart]

All of it is supported by Progressive Insurance. Do you ever find yourself playing the budgeting game? Well, with the Name youe Price Tool from Progressive, you can find options that fit your budget and potentially lower your bills. Try [e-mail] Progressive Casualty Insurance Company and.

[Riz Ahmed]

Affiliates Price and coverage match limited by.

[Alison Stewart]

State law not available in all states.

[Riz Ahmed]

The heat is here and your AC is working overtime to keep your home cool. Did you know a dirty air filter can make your AC unit work even harder? Keep your AC running smoothly while helping improve your indoor air quality by installing a Filtreat MPR 1900 air filter. It captures 24% more particles in the air than the MERV 13 industry standard, all while letting cleaner cooler air through cleaner air reliable airflow. This is all of it. I'm Alison Stewart live from the WNYC studios in soho. Thank you for sharing part of your day with us. I'm really grateful that you're here. A new documentary, Sally explores the career and life of Sally Ride, the first American woman to travel to space. We'll talk about the intersection of feminism and space exploration with the film's director. And Somebody Somewhere stars Jeff Hiller. He discusses his new memoir, Actress of a certain my 20 year trail to overnight success. That's part of our plan. So let's get this started with our Tribeca film coverage with actor Riz Ahmed and director Dave McKenzie. The film Relay features actor Riz Ahmed, but he doesn't speak for the first half hour of the movie. Instead, he communicates via body language, eye contact and a telecommunications relay service, something that allows a person to type out their messages and have them read by a third person. The service is designed to allow people who are deaf or hard hard of hearing who have speech disabilities. It allows him to make phone calls, but in Relay, Ahmed's character, Ash, uses it for anonymity. He works as a fixer, and his clients are people who have obtained useful information and need an intermediary. His latest client is Sarah, who worked for a biotech company that is about to do bad things and she has the docs proving those things. But now she's being followed, her phones are being taps, and she just wants her life to return to normal. Indiewire calls Relay a fun, twisty, supremely confident homage to classic paranoid thrillers. It's screening at the Tribeca Film Festival this week. It releases in theaters on August 22nd. I'm joined now by Riz Ahmed. Nice to meet you.

[Alison Stewart]

Nice to meet you too.

[Riz Ahmed]

Also, the film's director, Dave McKenzie.

[Alison Stewart]

Hi Dave hi.

[Riz Ahmed]

So let's talk about this relay system. It's really cool. It allows people to type what they're thinking for people who are hard of hearing or who are deaf. First of all, why did you think that would. Dave, why did you think that would make such a. A good anchor for a thriller?

[Dave McKenzie]

What's really interesting about it is, as it says, the Americans with Disabilities act prevents the relay operators from disclosing any information. They're saying the calls are not recorded, so there are no records, so that it's very untraceable. So it's old analog technology. It's now being replaced by new stuff, but it still exists. The relay services do still exist, but that technology is what Riz's character Ash uses to try and stay ahead of people who are able to track his digital footprint. And that's the kind of. It's a cat and mouse game between what he's trying to do, trying to protect whistleblowers and the people, the kind of corporate henchmen who are trying to kind of intimidate and trying to get that information back and trying to kind of silence those people. So he has to be one step ahead of them and they have all the technology ahead of them and, you know, to use and. And he's able to, to, to defeat them by using methods which they no longer even know about. You know, which is, which is pretty interesting.

[Riz Ahmed]

Riz. When you read the script, you realized the first chunk of the movie, you don't speak. You have a lot to do, but you don't speak. What did you think of that?

[Alison Stewart]

I thought it's like my family's dream come true. I don't. I just shut up. And I don't have a phone. I don't have, you know, I'm offline, I'm disconnected. It's my dream as well, actually.

[Riz Ahmed]

Yeah.

[Alison Stewart]

No, honestly, I just. It just. It's such a page turner, even on the, you know, in script form. And I knew David's hands. David's someone I wanted to work with for a long time. I love his movies like hello, High Water and Stard Up. I just knew in his hands it would be so gripping. So I didn't. It didn't. It actually just felt very intriguing to me. I was wondering who is this character? What is motivating him? What is his backstory? And I think that's the effect it has on audience members as well. I think they're really. In the absence of being spoon fed exposition and being spoon fed information, audience has no choice. But to lean in, to watch a bit more closely, to watch kind of almost at the edge of their seat. And then, of course, the story is doing the same thing. It's full of twists and turns and intrigue and mystery. So I think it's a really fun watch. And honestly, my experience reading it on the page, I think is mirroring what I think audience members are saying. It just keeps you guessing and keeps you gripped.

[Riz Ahmed]

I know you can't decide, is he a good guy? Is he a bad guy? What's he doing exactly? In the first part of the film?

[Alison Stewart]

No comment.

[Riz Ahmed]

So our listeners can understand what we're talking about, I want to play a clip from the film. This is Ashley calling the team. That's chilling. Sarah, the communications assistant, is speaking on his behalf. The other speaker is the head of the team, played by Sam Worthington. So people can catch up and understand we're talking about this Relay service. This is from Relay.

[D]

We've left word at the office of Cybo Cementis CEO, Mr. Franklin. We await his response.

[Alison Stewart]

Mr. Franklin passed on your message, and he's authorized us to speak on his behalf. Go ahead.

[D]

Who am I speaking to and what is your position?

[Alison Stewart]

Well, my name is Steve Dawson. Don't look it up. It's not real. And my team is tasked with returning the documents. Go ahead.

[D]

We wish to return them as soon as possible, but in order to protect our client, we are ready to send them simultaneously to all appropriate law enforcement agencies, as well as every major media outlet if you don't fully cooperate with our requests.

[Alison Stewart]

Well, we'll do our best to cooperate. Go ahead.

[D]

There will be no more threats to our client. No more surveillance, including phone taps. Once we are satisfied with our client's security, we'll return the original. We will keep a single secure copy as insurance for our client's protection.

[Alison Stewart]

How do we know to trust you? Because you could be anyone. Yeah, go ahead.

[D]

You will be our client, too. You will be required to pay a fee. We work for both parties to ensure that the job is done with no loose ends. Is in all our interests for it to run smoothly.

[Alison Stewart]

Oh, that's very kind of you. How much is the fee? Go ahead.

[D]

Half a million dollars. Cash.

[Alison Stewart]

Well, that's a lot of money. How do we trust your client's intentions? Go ahead.

[D]

You were tapping our clients first calls. You know as much about their intentions as we do.

[Riz Ahmed]

All right, so people got the vibe of what's going on. How did you direct the. The communications assistants, the intermediaries, when you were making the film because they kind of were dispassionate, delivering this intense information. Intense information.

[Dave McKenzie]

It was a really interesting thing because we only had one day to shoot them and effectively had 25 pages of dialogue to do. But it was really about casting them. I wanted to cast people who were all very different. And I had, like, a pack of cards of the people that I wanted to try and work out which people would be appropriate to deliver which information. And some people, you know, delivering information kind of on the nose, you know, you know, carefully, and sounding nice about it. And some people, you know, the guy. The guy in. In that scene is. Is. Was absolutely brilliant because he was kind of ice cold. But. But. But, you know, really, really connected to the material. When we were shooting it, I didn't give them the script, so they didn't know what they. They were reading it directly, so there was a kind of sense of them reading it. So they. And they're trying to. They're trying to kind of convey the message and. But they're also themselves, you know, and I was just really interested in that idea that you don't know who you're going to get and that the person leaving the message has no idea the tone of the voice, the gender or anything of the person delivering the message and how that sort of interacts with the information being told and what. Particularly Lily, but Lily and Sam and everyone else, how they have to deal with, you know, these dislocated voices.

[Riz Ahmed]

Riz, you're typing messages for the first part of the film. What are you channeling into your performance when you can't rely on words?

[Alison Stewart]

Well, it's really interesting because, you know, acting is. Is a large part of it at least, is about listening and just being present. And I think, you know, David's not with Justin, the writer. They've, you know, conceived of a story that is all about listening, you know, and my character is, by the nature of his job and the nature of his personality, very much a watchful individual. Somebody who's always got his ears and eyes open. And so in that sense, it was a very pure experience of what, you know, acting often is, which is about remaining open to your environment, to your scene parts partner. And if you can remain open to that, then. And it kind of works on you. You know, someone once said, I think it's an old saying, it's like you don't act, you react. And actually, it was a real gift to be able to be in a place where so much work was being done. For me, because I could listen In I could absorb, could simply be present. And so there was something really, really liberating about that. Something very, as I said, pure about it. And I think what's interesting, from an audience point of view at least, what I found is that every conversation in this film is really tense. There are no casual conversations. And it's not me and Lily James and Sam Worthington sitting in a room arguing with each other or even getting on the phone. Like every single interaction has baked into its DNA a sense of drama, tension, intrigue, you know, something unusual about it. As David was saying, you know, these disembodied voices conveying this kind of very intense information reminds me of, like, HAL in 2001 A Space Odyssey or things like that. There's a kind of. There's a cold, slightly creepy quality to that. So for an actor, you know, I think it was actually, strangely, a gift. I think often the gift and the curse is the same thing. Right? You don't get to say anything, but guess what? You don't have to say anything. And for audiences, I think it actually draws them in even further.

[Riz Ahmed]

It's interesting because there is one sort of casual conversations, but it's done through asl, which, I'm curious, did you retain that from Sound of Metal?

[Alison Stewart]

I wish I, you know, could say I kept up my fluency in asl, but like any language, if you don't practice, it kind of fades away. So. But we, you know, we were using this piece of technology, this relay service, which is very much connected to people of deaf and hearing impaired. And so we felt it was right, actually to involve members of the deaf community and bring that element into the film. So I was really pleased to be able to bringing my sign language instructor and my mentor within that community, Jeremy Stone, jls, as he's known. And. And so he was there. He was on board. He. He was, you know, helping oversee some of that element. And, you know, personally, for me, I think it's really important to have communities like the deaf community or different minorities or underrepresented characters in movies where it's not about that.

[Riz Ahmed]

No, he's about, like, trying to fix your passport or something.

[Alison Stewart]

Yeah, he's just a dodgy guy in the back room. I'm, like, trying to negotiate and haggle with. In asl, what I really love about.

[Dave McKenzie]

That scene is, is the way that it communicates that we didn't need to put subtitles on because it's completely clear what they're doing and we're just kind of echoing what the conversation is. And I just. I was really sort of proud that we. That it just. It just works. And there was. No one ever said, oh, we need to put. You need to explain exactly what's being said, you know, because it comes across.

[Alison Stewart]

So clearly and it kind of makes sense of where his affiliation to this piece of technology comes from. You know, this pal of his, this fixer that he uses.

[Dave McKenzie]

It's also the first time he probably really uses his own accent as a character as well because he's putting on so many disguises and voices and all that. So it's sort of. Because he sort of. The character is a hall of mirrors in so many ways that it's quite. It feels like the most. Sort of the most honest and himself of all the interactions that happen in the whole film.

[Alison Stewart]

And it's non verbal. His most comfortable form of communication using someone who is a verbal person is non verbal. So I think it speaks. Yeah. Volumes about the character. This is a wonderful piece of writing and wonderful moment for David and Justin to place in there.

[Riz Ahmed]

We're talking about the film relay. I'm speaking with actor Riz Ahmed and director Dave McKenzie. It's part of our Tribeca film coverage. It'll also be released in theaters on August 22nd. Because there's a lot of action in this movie. There is a lot of action, but there's also a lot of non action. There's a lot of phone calls. There's a lot of waiting. Tense times, but. But sort of slower in the way that they sort of evolve. How do you find that balance, Dave, between the action running, going and the very calm waiting?

[Dave McKenzie]

Well, I've always felt it was a slow burn movie. And, you know, and the idea really is that the characters. I mean, Liz and. Sorry, Riz and Lily's characters. I could have got that really badly. I'm not. Not in the same space together until. Until really the third act of the film, you know, and I think there's something so. So you're building up to something and, you know, something's gonna, you know, there's a. There's a slow fuse burning and, you know, something's gonna kind of gonna explode at some point. And I really like the shape of that. I really like movies that. That don't sort of start off how they end. You know what I mean? The take, he take you along, along, you know, a winding road and that and then. And then reveal some things and, you know, you don't. You get pushed into a place that you weren't expecting. And I Think this film is very much, you know, aiming to do that.

[Riz Ahmed]

You know, when we meet Ash, where is he in life? What's going on with him? He just doing the job, getting things done. Is there something else going on with him?

[Alison Stewart]

I don't want to say too much about him as a character, but something that you. That is an element of the film that, you know, isn't a secret is that he's somebody who's in recovery. He's someone who's definitely kind of like had to pick up the pieces in his life. And I think that speaks to why he is off grid, so to speak, why he is this lone wolf of an operator and why he's quite emotionally guarded. Now, as I said, the gift and the curse are always the same. So that's. That's difficult way to live in a way that's kind of quite lonely. But it also speaks to his tremendous superpower, which is to not need human connection or at least so he thinks in the way that others do and enables him to do his job, enables him to move in the shadows and not leave a trace. So I think it's, you know, he's a character who has built up walls, who has built up a kind of protective isolation for himself and for his clients that he works with as a fixer. But I think, you know, these walls kind of. They kind of come. Come crumbling down a little bit when he meets Lily.

[Riz Ahmed]

Yeah. Why is she able to get behind those walls or find the little tiny window that's slightly open in that wall?

[Alison Stewart]

I think we as human beings, we all want to connect, don't we? We all want to connect. And I think that it's something about where my character is at in his recovery journey and the importance of needing to trust and be open and share who you are in order to fully heal. I think that coincides with meeting Lily, who's tremendous, tremendously vulnerable and brave as a person. And so I think that connection is forged between two lonely people in a vulnerable place in their life who are in situations where they can't trust anyone, but they badly need someone to trust. And I think that's how that bond is formed.

[Riz Ahmed]

It's interesting because you use the postal service as a way to get ahead of the people who are trailing Sarah. And I kept thinking of the film. This is like this really interesting mix between what is possible with technology and how you can get around it by using old school methods. And I want to talk about that a little bit.

[Dave McKenzie]

Well, I think that, as you said, sort of the analog world is the way to get around being, you know, being. Being tracked.

[Riz Ahmed]

Yeah.

[Dave McKenzie]

And I, you know, these sort of the old institute, I mean like the relay institution and the postal service, they're very old school. They're old school, they're trustworthy, you know, they're designed for all or for, you know, the, you know, the needs of anyone he needs to use them. And I. There's something kind of decent about those kind of things and it's quite. To be able to lean on that old school kind of decent. It feels kind of feels really nice. And you know, they're certainly with the postal service of these kind of labyrinthine things with, you know, forwarding and tracking your mail and general delivery.

[Riz Ahmed]

When was the last time you got something in general delivery? Yeah.

[Alison Stewart]

You want to lose somebody or lose something, just post it.

[Riz Ahmed]

It's so true. When you were thinking about your character Ash, why do you think Ash takes Sarah's case?

[Dave McKenzie]

Well, it's interesting because the film starts with him ending on this character Hoffman's case and sending him off into out of town to a life where he will be in some way undercover. And before he takes Sarah's case, there's a strong sense where he's trying to work out where she's from and also, you know, whether he really wants to take it on or not. And there's a little scene where, you know, where he's, you know, he's in his kind of. He has a sort of almost like a layer where he's kind of protected, where he keeps, keeps his important documents and things like that. And, and he's just deciding whether he wants to do it and goes, okay, no, I think I, you know, I, I'm tired. I don't want to do it, but I'm gonna do it, you know, and, you know that it's just a little moment, but that's, you know, so it's like, it seems like, you know, duty calls.

[Alison Stewart]

Yeah.

[Riz Ahmed]

You look up on LinkedIn, you make sure she says she is who she says she's going to be, supposedly. Why do you think she. He takes her case?

[Alison Stewart]

I think it's because he recognizes a part of himself in her. You know, I think that often our attraction to people, our ability to relate to people is, is a, is a projection. Right. It's about us projecting a fellow feeling or a shared experience or a shared sense of identity onto Lily. And I think as a fixer, Ash is someone who's going up against the big dogs, going up against the powers that be and He's a lone ranger in a way in doing that. And so I think he really sees that in Lily's character and Sarah Grant. I think he sees somebody who's, you know, possibly about to lose it all because she wants to speak truth to power. And I think he really recognizes himself in that. And I dare say also, you know, he's, he's lonely. He's a lonely individual. And I think part of his, part of him is attracted to her, you know, although he would never allow himself to act on that as a consummate professional. So I think, yeah, I think it's about solitude. And projection can really be a powerful recipe, you know, for bringing people together.

[Riz Ahmed]

Ash gets a call from a former client who is sort of regretting working with him and kind of wants the truth to get out there. He's sort of, he's upset about hiding it. What does this do to Ash? What does this, does it create guilt in him? Does it create a sense that he wants to do more with the next client? What do you think?

[Alison Stewart]

Well, there's this trade off between saving individuals and saving the world, isn't there? And that's something that's in that gray area is where Ash operates. And so I'll just kind of speak to that in a bit more detail. So a lot of the time what Ash is doing is he's going, whistleblowers are contacting him and they're not saying, help me get these terrible state secrets, these terrible corporate lies in the news. They're saying, hey, I thought I was going to be a whistleblower, but the harassment is too great. I don't want to lose my whole life. I don't have to live off grid. Can you just put the toothpaste back in the tube? Right? Can you get these secrets back to the corporation? Can you be a middleman? Can you make this all go away? I thought I was going to be a do gooder Ash, but I can't, I can't go through this is too much. And so what Ash is doing is he's protecting the vulnerable individual, right? But in trying to, you know, rebury these secrets that these whistleblowers thought they would expose, he is walking away from maybe the bigger battle of exposing corporate greed or government lies, right? So there is that tremendous kind of trade off and I think that that's something that Ash is having to contend with. You know, what is doing the right thing? Is it taking care of people or is it taking care of the principal? And so he's someone who's constantly kind of like, you know, thinking about this. And. Yeah, I think the film deals with a lot of these really interesting gray areas, but I think in a way that isn't. That is gripping and twisty and exciting and engaging. You know, you spoke about it as a slow burn. I think burn is the operative word, rather than slow. I think from the beginning of this film, even though it doesn't bang you over the head with lots of explanations and lots of explosions, I think it pulls you in because it's unique and because of David's direction.

[Riz Ahmed]

David, was there any place in New York that you wanted to shoot that you could. We saw a lot of New York.

[Dave McKenzie]

I mean. Well, we did shoot. We shot in some great place. I mean, we. You know, our first day of shooting was Times Square. And it's got a crazy kind of.

[Riz Ahmed]

Your first day.

[Dave McKenzie]

Yeah. And. And, you know, it was a completely wild location, you know, that we had. We had a tiny corner where we put a newsstand that we controlled. But the rest of it was, you know, was. Was open to, you know, anyone, you know, there. And so it was a lovely kind of quality to it. And it was a thing that, you know, as a filmmaker, I'm always interested in. In things. In how to make all this material come alive. And so. So shooting on live streets is something I've always liked doing. Even if people are looking at you, the camera or whatever, it just. It just, you know, things are happening in a very organ. You know, it's great for the actors to kind of work against that, you know, that live feeling and just makes everything kind of, you know, crisp and exciting and so. So that was. That was great. All of the street stuff in New York, I really, really enjoy doing. We had to do it very, very quickly. And he had to kind of like, move from. You know, we did. We did, like, you know, 35 scenes. In one day or what? I mean, in three days, you know, so you're a different. You know, so there's a lot. It was a lot of fast pace.

[Alison Stewart]

Really incredible, actually. You've never quite worked at such a pace. And it's so incre. Because David's films are so studied and they're so well structured and paced. And the experience of them is like free falling, you know, it is just so fast. It's so confident, so assured. It's slightly chaotic, but in a way that's like, by design, as David's saying. So shooting in Times Square, shooting Grand Central Station, shooting in Jackson Heights in Queens, you know, shooting in the back of a yellow taxi. All these kind of things. As David said, that texture, that specificity allows a story to come alive. And for us as actors, we're in it. You know, we're in it. We mainly night shoots in this movie. So at nighttime in New York, interesting people come out, interesting stuff happens, you know, so you're almost kind of by design, putting yourself in situation that you can't control. And that is so that life can force its way onto the screen. And I think people really responded to that.

[Riz Ahmed]

The name of the film is Relay. It will be in theaters August 22nd. It's streaming at the. Excuse me, it is screening at the Tribeca Film Festival. My guests have been Riz Ahmed and director David McKenzie. Thank you for coming to the studio.

[Dave McKenzie]

Thanks very much.

[Riz Ahmed]

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[Alison Stewart]

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