Director: Cighi Keylavaza Emmarimurti

First of all I would like to thank you ma’am for taking time out of your busy schedule and doing this with us.

In “Half a Cake,” Nora’s journey is both personal and painfully universal. Can you share your thoughts on the complex dynamics of friendship depicted in the film? How do you see Nora and Jessi’s relationship reflecting the tensions between idealism and the fleeting nature of human connections?

During the process of writing the script, I try to break down each of the characters such as their tangible and intangible motives which happened to Nora and Jessi. They both want a sense of belonging, just in a different way. Nora wants to be understood or seen emotionally while Jessi wants to be validated socially. So the way their needs manifest is already different and that causes the tension. But other than that, I want to portray them as humans. To me, there is no such thing as protagonists and antagonists, heroes or villains, just humans with their needs wanting to be met. And humans are complex. Nora seeking closure is valid and Jessi having a life outside of Nora is also equally valid so their actions are quite unique if I should say. 

The film explores the emotional nuances of heartbreak in a non-romantic context. What inspired you to focus on the idea that a friendship’s dissolution can carry the same weight as the end of a romantic relationship? How do you think society tends to downplay this kind of emotional impact?

I think it’s because we associate “heartbreak” in a romantic context a lot, especially in our society. But relationships come in different forms too, including platonic relationships or close friends. What they have in common, at least in my opinion, is the emotional bond that was built. Only the difference is that people tend to see romantic relationships having commitment while friendships can be casual. Like society tends to say that in romantic relationships, there is commitment or goals but in friendships, it is treated casually or that sometimes people call you jealous that your friends have other friends too. But in reality, we linger on the same way because we experienced it happening in real time so it felt real and impactful in our real lives when it comes to human connections. 

The theme of seeking permanence in an ephemeral world is central to the narrative. How does Nora’s pursuit of clarity in her friendship with Jessi mirror the broader human tendency to seek stability in a constantly shifting reality?

I think it’s natural for us to seek security or answers, especially if a friendship or relationship falls apart for no reason. And us humans also need security to hold on to life so I believe Nora reflects our human nature. The real life example is that we see how humans communicate to seek closure to their doubts or an answer and that’s what Nora is trying to do although it didn’t turn out the way she expected.

You’ve said that the relationship between Nora and Jessi embodies the tussle between the real and the superficial. In your view, what does Jessi’s transformation represent about the pressures young people face to conform and the ways in which those pressures can reshape their authentic selves?

Yes, one hundred percent. In fact, the whole aesthetic of the film was inspired by the coquette aesthetic and at the time I was writing the film, it was all over social media and every girl was doing it. I thought why not apply that to the film as well? That can be seen in Jessi who dresses casually like Nora and suddenly she transforms into a fashionable or materialistic girl just for the sake of being accepted. I believe the materialistic aspect of Jessi and her new friends show the superficiality while Nora’s gift to her, a heart shaped cake is more authentic because it shows her effort in their friendship. In terms of conformity, a lot of young people in my generation face this pressure especially with social media and our tendency to feel fear of missing out. I believe Jessi is also the same, she wants to fit in as much as possible and fit Amanda’s mold or her friends, thus leaving her authentic self, the same way young people nowadays do it just to be accepted which is a sad reality. 

The title, “Half a Cake,” carries both literal and symbolic weight. How do you think the motif of incompleteness manifests throughout the story, and in what way does it reflect the bittersweetness of the characters’ emotional journeys?

It’s the show not tell technique, the number one rule every filmmaker has been told I bet. So I try to play around with the props as motifs like the cake and the decorations. I feel like cake or food in general, is universal because it brings people together, especially in the context of birthday parties. So to play around with the idea of a “half eaten cake” makes such a setting bitter and that it represents that relationships too fall apart. I know it’s kind of ironic that when a birthday is supposed to bring friends together, it turns into a place where friendships fall apart.  As for the characters, the title mostly references Nora and Jessi’s friendship from something that was once whole now broken apart in pieces or in half which is in the ending. 

The performances in the film are subtle, yet deeply moving, capturing the turbulence of adolescence. Could you talk about the process behind directing the actors to portray those moments of intense, often contradictory emotion – the anger, the indifference, and the need for validation?

I may have to agree with you that it looks intense on screen, but behind the scenes, it’s different. Every time we’re taking a scene, I communicate with them about the context of the story and brief them about what’s going to happen to their characters and how they feel. At the end, all of the actors feel more expressive with their characters. I don’t just vaguely tell them what to do, I give them space for improvisation because I believe actors are artists too. They understand how a story works. For example, Amanda’s monologue before the cake throwing scene was all improvised by her actor, Kasih Purwana who gave me the feedback that “it’s awkward if she just throws the cake, there should be something for the build up”. The body languages of Nora and Jessi were improvised by both Keren Jacobs and Aura Putri who are both portraying the two lead characters. When we shot the ending scene, Aura Putri told me it’s hard for her to cry on-screen so I suggested for her to act indifferent with a guilty tone delivery and she nailed it perfectly. Sometimes I also use popular film references like the 2003 “Mean Girls” to make the casts of Amanda’s friends, Rachel and Shelly, played by Clara Claresta and Althea Angela, respectively, understand better on what kind of bitterness and peer pressure I’m aiming for. Basically, we all collectively communicate with each other during filming. Lastly, I always rehearse the scenes or dialogues right before take, so their emotions are still kept raw on camera. As a director, it’s important for me to keep directions or visions short and simple but also structural enough that your vision is executed perfectly while leaving room for your actors and crews to let out their creativity. After all, film is a collaborative project, not a one man show. 

There’s a quiet tension throughout the film, largely due to your restrained use of the background score. How do you approach scoring in a way that allows the silence to speak volumes? And what role does this approach play in intensifying the suspense and emotional stakes of the narrative?

It’s an artistic choice for the audience to feel a sense of emptiness and alienation. I wanted to show the gap and space of being distant in a place where you should belong but instead, being outcast hence the minimal use of scoring.

The moment when Nora decides to sever her ties with Jessi is significant, but also incredibly painful. What do you hope the audience takes away from this choice, particularly in terms of the complexity of standing up for one’s emotional well-being, even at the cost of a cherished friendship?

My takeaway as the director is mainly to learn and accept reality as it is, including a friendship that is already falling apart. I hope Nora’s way of taking her stance inspires the audiences that sometimes letting go is the best option instead of letting the pain consume us. 

In the context of the film, Nora’s emotional arc is one of gradual self-realization and empowerment. How do you see her final choice to walk away from Jessi as an act of both personal growth and a painful acknowledgment of life’s inherent disappointments?

I see her from being idealistic to realistic. She expects a lot from Jessi in their friendship and even wanted to be included. But when she realizes how mean Jessi’s intentions are through Amanda and her friends, it is a painful truth for her that Jessi only wants validation, nothing deep or meaningful and she grew more realistic that not all friendships last, including her own.

The film is deeply reflective of the inner turmoil that accompanies the transition from adolescence to adulthood. In your opinion, how does “Half a Cake” explore the loss of innocence and the harsh realities of adulthood, particularly through Nora’s experience?

To be honest, I never thought of my film that way. But if that’s what you believe, then I appreciate it. If I could answer your question, I think the loss of innocence in “Half a Cake” is accepting a bitter truth that sometimes life doesn’t turn out the way that we want. 

At the end of the film, is there any sense of closure for Nora, or is the final scene more of an acceptance of the ambiguity that life often offers? What do you want the audience to feel as the credits roll?

If there is a conclusive ending, I’ll leave that up to the audience. Whether Nora became accepting of reality, still heartbroken, or stronger, it’s up to the interpretation of the audience. Speaking of which, I always aim for the audience to think as the credits roll to reflect about the film, the theme, or their emotions. 

What do you think “Half a Cake” says about the human condition, specifically our tendency to cling to relationships and experiences that may not be sustainable, but also how we grow from them despite their impermanence?

Humans are inherently social creatures. It’s been that way even before civilization began through communities and such. In a way, “Half a Cake” portrays that, even as small as friendships are a way for us to seek company. I believe it’s just our human nature that we cling to any form of relationships for that sake. But also, not all relationships, especially friendships are sustainable. Many are toxic and I think people in my generation feel this a lot with the “fake friends” they encountered.

The film leaves us with a sense of unresolved tension between the characters, even after Nora’s final decision. How do you view this open-ended nature of the narrative? Does it suggest that some stories are never fully concluded, much like the half-eaten cake, symbolic of the unfinished emotional journeys we all face?

The open-ended ending represents what life is, at least to me, full of uncertainties and unknown chapters and adventures in our lives. And I want the audience to embrace that more, especially when they expect films to have a conclusive ending the same as how life goes on.  

In Half a Cake, there’s a distinct moment when Nora faces not just the external pressures of Jessi’s new friends, but her internal conflict about who she wants to be. How does this inner struggle contribute to the overall message of the film?

That’s a good question, because I don’t see Nora’s internal conflict to conform or being accepted. Though again, any interpretation is appreciated. I would say as a director, Nora’s inner conflict is to seek an answer to her doubt in the friendship and emotional closure. I think the problem of conformity is reflected more on Jessi because she wants to be a part of Amanda’s group or known as popular so she joins in with the bullying so she can be accepted by Amanda.

Finally, the title is also evocative of an unexpected ending—a moment of hope that remains unrealized. Do you see Half a Cake as a critique of the way we romanticize ideal outcomes, or is it more about learning to live with imperfection and ambiguity?

I agree more towards the latter. If there is a critique, I would say that friendship breakups are just as impactful as romantic breakups and that society should shed a light on it more. But I’m trying to emphasize that life is both bitter and sweet and people should embrace the sweetness of life and learn from the bitterness from “Half a Cake”. 

Thank you so much again ma’am!

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Directed by: Cighi Keylavaza Emmarimurti

“The most difficult losses are sometimes those that come without warning, without conflict—just absence.”

Sometimes, they arrive in the quiet form of a drifting friendship—unannounced, unresolved, and devastating. Cighi Keylavaza Emmarimurti’s Half a Cake delves into one such heartbreak, exploring the emotional rupture that occurs when a close friendship ends without explanation. The film is an aching, subdued meditation on growing apart, the illusions of permanence, and the unspoken grief of being left behind.

Set against the intimate backdrop of high school corridors and quiet suburban homes, Half a Cake follows Nora and Jessi—two best friends navigating the fragile terrain of adolescence. Nora turns seventeen and celebrates with Jessi, unaware that the joy of that day will soon turn sour. When Jessi finds new friends—Amanda, Shelly, and Rachel—Nora begins to feel the space between them widen. What follows is not a dramatic fallout but a slow, silent exclusion that culminates in Nora being left out of Jessi’s own birthday party. Determined to understand why, Nora arrives uninvited, only to be met with humiliation, subtle hostility, and the crushing realization that she no longer belongs.

The film’s title, Half a Cake, is at once poetic and profound. It represents the core emotional philosophy of the film—that joy, hope, and fulfillment often arrive in incomplete forms. Birthdays, symbols of celebration and continuity, become painful reminders of broken bonds. A cake half-eaten or half-shared becomes a metaphor for the relationships we build in life: beautiful, temporary, and often unfinished. In Emmarimurti’s world, mirth and warmth are occasional visitors in the otherwise unlit rooms of adolescence. The half-cake is what Nora is left with—a fragment of a friendship that once felt whole.

One of the film’s most compelling themes is the human urge to seek permanence in an impermanent world. For Nora, Jessi was not just a friend, but a constant. Her absence is not just betrayal—it’s the shattering of emotional certainty. The film delicately explores how we attach ourselves to people in hopes of building something unshakeable, only to discover that change is inevitable, and sometimes cruel. Jessi doesn’t offer an explanation because, like many real-life friendships, hers with Nora fades without any final act. Emmarimurti seems to say: not all endings are loud. Some are quiet enough to break your heart.

Another poignant idea woven into the narrative is the tussle between authenticity and superficiality. Jessi’s new friendships seem more performative than personal. There is a quiet pressure she faces to conform, to exclude, to ridicule—trading sincerity for social validation. The group dynamics reflect the subtle cruelty that often exists within teenage social hierarchies, where popularity is prized more than empathy. Nora, who represents emotional honesty, becomes the sacrificial lamb in this transformation. And yet, despite the humiliation and longing, she chooses not to fight for a place she no longer fits into. It is this act—her decision to walk away—that becomes the film’s moral heartbeat.

The performances in Half a Cake are remarkably understated. The actors, especially those portraying Nora and Jessi, capture the unpredictable emotional palette of teenagers: the sudden rage, the passive-aggression, the moments of quiet despair, and the desire to feel seen. Jessi’s conflicting expressions—sometimes guilt-ridden, sometimes indifferent—reveal a young person unsure of her own choices. Nora, by contrast, carries the burden of clarity: her pain is visible, but so is her dignity.

Technically, the film is executed with restraint and elegance. The direction is flawless, never manipulative. Emmarimurti resists melodrama, instead allowing silences to speak and glances to wound. The subtle background score accentuates the emotional weight without overpowering it, creating a mood that hovers between tension and melancholy.

In conclusion, Half a Cake is a quiet triumph. It doesn’t shout; it whispers truths many of us are too afraid to say aloud. It reminds us that not all losses are romantic, and not all grief is loud. Through Nora’s journey, the film urges us to accept that sometimes the most painful goodbyes come without a reason, and that choosing self-respect over longing is an act of courage. In a world obsessed with happy endings, Half a Cake dares to leave us with half—and it is enough.

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Thank you, Yusuke, for taking the time to discuss your remarkable short film Echoes. The film provides a unique, layered exploration of human survival, technology, and the environment. We’re excited to delve deeper into your creative process.

Yusuke, thank you for joining us today. To begin, can you tell us about your love for science fiction and how it influences your approach to filmmaking?

Science fiction is not just a genre for me—it is the driving force behind my creativity. SF often explores technologies that have not yet been realized and challenges our perception of humanity, both of which are essential elements in my filmmaking.

In Echoes, I sought to examine the relationship between technology, humanity, and the natural world, using science fiction as a vehicle for deeper philosophical exploration. Through SF films, I aim not only to imagine the future but also to provoke reflection on our present society and the essence of human existence.

The story of Echoes is quite profound and thought-provoking. Can you share how the concept came to you and how it evolved into the final script?

The concept of Echoes emerged from multiple factors, including climate change, excessive reliance on technology, and the fragility of human civilization. I wanted to depict a story where the boundaries between humans and machines, nature and artificiality, become blurred. Initially, the idea was more abstract, focusing on survival in a post-apocalyptic world. However, as I developed the script, I realized that “memory” and “human identity” needed to be at the core of the story.

In the final script, I emphasized how AI, which has become a symbol of modern technology, and the choices and fate of us humans on Earth, will shape the future.

The title Echoes is particularly evocative. How did you decide on this title, and what does it symbolize in the context of the film?

The title Echoes carries multiple meanings. One represents the remnants of humanity—the echoes of the past—that linger in the desolate world the protagonists return to. It also symbolizes how memories, actions, and past mistakes ripple through time and influence the future.

Additionally, Echoes is not just about the reverberation of sound; it suggests the perpetual recurrence of past actions and memories. Even in a world where no humans remain, the traces of their existence continue to resonate like echoes.

There is a certain sense of disorientation in the film, almost as if it’s deliberately done. Was this a creative choice to enhance the chaos and heighten the apocalyptic atmosphere of Echoes?

Yes, the sense of disorientation is intentional. I wanted the audience to experience the same uncertainty and unease as the characters by intertwining past and present timelines.

By using fragmented storytelling, abrupt shifts in time and perspective, and unsettling silence, I aimed to immerse the audience in the same ambiguous world as the characters. This approach allows them to feel the instability of a reality where the boundaries between past and present have become indistinct.

The film seems to subtly reference Gaia’s theory, the idea that the Earth itself behaves as a living organism. Was this a deliberate choice to highlight the significance of life—and perhaps to dread its absence?

Exactly. I strongly resonate with the idea that Earth is not merely a stage for human survival but a system that functions on its own. Echoes suggests that nature continues to exist regardless of humanity’s presence. This film questions whether we are an integral part of this system or merely a temporary existence.

The protagonists—Adin, Evelyn, and the AI they rely on, Sophie—symbolize Adam, Eve, and the Tree of Knowledge from the Bible. In the biblical narrative, Adam and Eve are expelled from paradise. Similarly, in Echoes, humanity is deemed unnecessary by AI in a rational judgment regarding Earth’s future.
However, Adin and Evelyn, having gained an understanding aligned with Gaia theory—the perspective of the Earth itself—are seen as distinct from the rest of humanity. As a result, AI intentionally isolates them, ensuring their survival.

While this concept is clear in text, the visual storytelling leaves room for audience interpretation.

What was your original vision for the visuals of Echoes? How did you approach the visual language to convey the themes of the film?

Visually, I aimed to reflect the themes of Echoes by emphasizing the contrast between artificial and natural light. By depicting the remnants of an inorganic urban landscape slowly being overtaken by nature, I sought to visually convey the relationship between humanity, technology, and the environment.

Additionally, I used color and lighting to differentiate between past and present while allowing them to subtly merge. I intentionally incorporated imperfections, noise, and visual distortions to create a sense of drifting between reality and illusion.

Speaking of incompleteness, is it safe to say that the theme of incompleteness runs throughout the narrative, from the fragmented storytelling to the characters’ unresolved dilemmas?

Yes, the theme of incompleteness is woven throughout the entire film. The characters are not on a journey to achieve something definitive; rather, they are constantly searching. Their actions are fragmented, and the narrative does not lead to a fixed resolution.

The structure of the story itself is also intentionally fragmented, leaving room for interpretation rather than providing clear answers. This incompleteness ties into the film’s overarching themes of uncertainty and the limitations of human understanding.

Ecocriticism has become an integral part of movies today. How important is it that these environmental and existential issues are raised through the medium of film?

Film is a powerful medium for engaging with environmental and existential issues. Science fiction, in particular, serves as a mirror that reflects not just possible futures but also our present reality and the choices we make.

In Echoes, I incorporated themes of climate change and the consequences of technological advancement as part of the film’s core narrative. If this film can make the audience question whether we are truly on the right path, then I believe it has fulfilled its purpose.

Lastly, could you recommend some underrated dystopian science fiction films for us to explore that may align with the themes you’ve explored in Echoes?

Certainly. A few lesser-known but thought-provoking dystopian films include:

• La Jetée (1962) – A poetic exploration of time, memory, and humanity.

• Threads (1984) – A harrowing look at nuclear catastrophe.

• Aniara (2018) – A haunting depiction of isolation in space.

• The Quiet Earth (1985) – A contemplative take on solitude and the human psyche.

Each of these films explores themes of survival, loss, and the fragility of human existence—just like Echoes.

Thank you again for your time, Yusuke. Your insights have given us a deeper understanding of the vision behind Echoes.

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1. Please describe your journey to animation and directing. What drew you towards this field?

My journey into 3D animation began with self-learning in China. After working in Beijing for a year, I realized that my skills needed further development due to being self-taught. This led me to San Francisco, where I studied 3D character animation at the Academy of Art University. After securing internships with both AE and Disney; two of the major companies in our industry; I started wondering how I could push myself further and challenge myself to become a better artist. Directing and completing a short film seemed like the perfect goal to help me grow. It
was an opportunity I hadn’t explored before, and I was excited about the chance to push myself and evolve as an artist.

2. How did you balance your roles as director and animator for your project? Do you think one influences the other?

Absolutely, as a director and an animator, these roles influence and complement each other. In practice, I didn’t do much animating for our project; instead, I focused on providing feedback to our animators based on my own experience as an animator. I learned from how my supervisors gave feedback to me. I applied those insights to my animators and help them improve their work. Being an animator gives me a better vision for refining the quality of the animation, which I believe enhances my effectiveness and professionalism as a director.

3. How do you go from concept to final animation? Can you walk us through the creative process?

The process began with a rough idea of the story and a basic vision for the character design. I started by sketching and then pitched my vision to friends who were more experienced in the field. Their feedback helped refine the design and storyboard, transforming my initial concepts into something more polished.

We progressed from a rough story to a final storyboard, and from initial character designs to their final versions. For example, we spent a lot of time discussing details like the pattern and color of the spider. This involved researching and collaborating with teammates to ensure the final design was both accurate and visually appealing. Once we had the final 2D designs, we moved on to our 3D work, which included modelling, texturing, surfacing, and rigging. During the rigging process, we tested how well the rig functioned, focusing on details like the movement of our characters’ eyebrows, antennas, eyelids, limbs, and other features to ensure they matched our vision. After the animation was complete, we moved on to lighting. Beyond ensuring the lighting was beautiful, we focused on the focal points of each shot, making sure the overall lighting setup highlighted these key areas. Our goal was to guide the audience’s attention directly to the intended focal point in each shot, ensuring that the storytelling
remained clear and impactful.

Finally, we integrated the music and sound effects. We worked closely with the music team to ensure the audio complemented the storytelling and enhanced the overall experience. Throughout each step, we faced
challenges but strived to ensure everything looked fantastic in the final film. Below is an example of how we developed our spider character: Reference, brainstorming, and rough design stage: Final 2D design of our spider: Modeling, rough texturing, and rigging stage:

4. What are your biggest challenges that you faced while making this animated movie, and how did you overcome them?

I would say that every step of the process was very challenging for us. We faced difficulties in building the team, presenting and pitching ideas to artists and friends, and even convincing them to join our project. Sticking to the schedule was another major challenge. We often fell behind and struggled to keep up with our timelines because most of the team members were quite busy. We only worked on the project in our spare time, which was very limited. Another significant challenge was working remotely. It made communication difficult, and there were technical challenges as well. For example, one of the rigs was never fully finished or satisfactory, so we had to bring in another rigging artist to help. This caused problems for our animators, who had to work around these issues. Lighting was also a big challenge. We had to adjust the environment and character designs during the lighting process because we didn’t have the technology to fully achieve my initial vision. In the end, we had to
compromise and make the best of the situation.

5. How did you collaborate on your vision with the team? Was it challenging, or did you guys glide smoothly?

When each teammate joined our project, my producer and I always conducted an onboarding presentation with them. This was something we did every time, right from the start. We wanted to show how we had progressed from the initial 2D concept to the stage we were at. It was important to convey to the new team members that we were serious about this project. This wasn’t just an assignment or a random project. We were genuinely committed. If someone wasn’t interested in fully contributing, they had the option to leave. But for those who wanted to
stay, this presentation was our way of making sure they understood the level of dedication we expected.

During the presentation, I would show them our designs for the short film and demonstrate the quality we were aiming for, using my spider animation test as an example. Our goal was for the final animation to surpass that test in quality. No, from what I remember, things never went smoothly. There were always challenges, as I mentioned before. Sometimes they were technical issues, but other times they arose from our own limitations as artists. We weren’t all professionals, so our quality sometimes fell short of the vision we aimed for. However, we kept pushing ourselves to improve. I did my best to motivate and challenge our artists to meet our goals. So, while it wasn’t a smooth journey, we kept moving forward, making compromises as we went along, but never losing sight of our goal.

6. If not animation, then what would have been your true calling?

I honestly don’t know. Animation has been my passion for my entire life. I can’t imagine what I would do if I weren’t in animation; it’s hard to picture. Sometimes, I think about other things I enjoy, such as hiking or cooking; maybe I’d become a chef. Or perhaps I’d be a gym coach since I love fitness. But honestly, besides animation, I’m not sure what my true passion would be, so it’s difficult to imagine anything else.

7. What do you think makes an animated character memorable?

I believe what makes an animated character memorable is empathy. When watching a film, if you can relate to the characters; if their situations or experiences remind you of your own personal memories; it creates a strong connection. This connection makes the audience remember the character and believe that the character is alive.
For example, in our film “CHAIN”, the mantis is striving to achieve her goals. At the end of the story, she realizes that a larger challenge, represented by the bird, is awaiting her. This conveys the idea that even when we overcome obstacles, there are often even bigger challenges ahead, much like the continual difficulties we face in life. I wanted to communicate this message to our audience through “CHAIN”, hoping they would resonate with the characters.
Similarly, in Inside Out 2, the character Anxiety’s emotions are relatable, which makes the character memorable and endearing in an emotional way.

8. How do you approach the design and development of animations and make your movie stand out?

Regarding design, we start with a rough concept, but after the initial pass, we conduct extensive research to ensure the design is believable. We gather materials, consult with more experienced artists, and continuously iterate on the design. Every detail matters; whether it’s a pattern, the color of the eyes, or the shape of the eyebrows. We keep
polishing and refining these aspects to make the character better and more engaging. I’m not sure if our movie truly stands out, as we faced challenges like a limited budget and less advanced technology, which affected the quality
of our work. However, we did our best with the resources available to us. My hope is that the audience can see the dedication and effort we put into the project. Even if it isn’t the best they’ve ever seen, we want to convey the passion we have for our work. Our goal was to create something meaningful and heartfelt, and I hope that resonates with viewers.

9. As technology is evolving, so is animation. How do you see the animation industry progressing, and what is your plan to adapt to the changes in your work?

Currently, technology in animation is advanced enough to achieve nearly any vision we have. However, that’s not quite the case for our project, as we had a limited budget and resources. We were a group of passionate, emerging artists who were still learning. In a broader context, the animation industry is facing significant changes. With the rise of AI, companies are reconsidering their need for traditional artists. Recent strikes have highlighted these challenges and the uncertainty within the industry. Despite these changes, my personal goal is to continually improve as an artist and animator, striving to offer something that AI cannot replicate. My plan is to focus on creating life and depth in characters through traditional hand-key animation. While I might explore AI as a tool in the future, for now, my focus remains on honing my craft and staying true to the art form.

10. How do you integrate storytelling into your animation work?

Integrating storytelling into animation involves understanding and conveying the director’s vision shot by shot. As an animator, I focus on capturing the specific emotions and story details required for each scene. I make an effort to understand the character’s feelings; whether they are confused, happy, or experiencing other emotions; and translate that into my animations. By following the director’s storytelling approach, I aim to bring each shot to life in a way that supports the overall narrative.

11. Considering you are a first-time filmmaker, what are your future plans and goals?

As I mentioned previously, my immediate goal is to continue improving as an animator. In the future, I hope to collaborate with other passionate animators and artists on short films. However, for now, my focus is on honing my craft and developing my skills further. While I don’t have a detailed plan at the moment, I’m open to opportunities and collaborations that may arise, particularly if we have the resources to achieve higher-quality animation.

12. We loved working with you. I hope you too feel the same. We wish you the best for your future!

Thank you so much for the interview opportunity this time and for supporting our team and our film. We are truly grateful for the chance to share our work and insights with you. It has been a pleasure working with you, and we appreciate the platform you’ve provided to showcase our project. We wish you continued success and look forward to future opportunities to collaborate.

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Movies have the power to  touch lives , inspire people  and change societies .I’am blessed that I could be a part of this impactful art form. Its definitely power and needs to be used responsibily.

2.As per you, Wenn Es So Sein Soll is a poignant love story. What do you think makes it a memorable movie?

I think what makes any movie a memorable one is its impact and the experience it takes the audience on, especially when we show a journey (Happy/sad) and juxtapose the climax with the exact opposite emotion.

3.It’s a love story between an escort and a man under unusual circumstances. Do you think there is any realistic element in it, or is it just a matter of imagination?

Hahahahaha, I get  this question often. Yes there is a relaisitic element, but it’s very much filled with imagination and content inspired from research. 

4.Being such a young director, what made you direct an off-beat movie like this?

I have always been attracted to such characters in real life, which the society has outcasted or misunderstood.. I’d love to show the world through my movies, that every human at an underlying level are the same, just that the proportions of emotions within them vary. 

5.The meaning of Wenn Es So Sein Soll means “If thats how its meant to be” What made you come up with such an emotional title for the movie?

Wenn Es So Sein Soll meaning – “If thats how its meant to be” . This title was best suited for every layer of the movie , right from the main plot, to how Leah feels when she sees the ring and to how Karthik is still waiting for Leah at the beach to come back into his life , a very abstract title 

6.What were the challenges you faced while making this movie?

We had a very thin crew, even though the movie was a short film , the idea was to show the journey of karthik and Leah and let the audience immerse in it . That demanded a lot of scenes, many costumes changes , shooting in two different aspeact ratios, basically many moving parts.

Without the extraordinary team I had, this would’nt have been possible. The  credit goes to the entire team. 32 hours of shooting over two days.

7.The movie seems to have a sad ending. Why did you go for this? Why not a happy ending where two lovers end up together?

Well, All good things come to an end.I have observed that the most beautiful things are short lived .While writing this story, I could experience the uncontional love between those characters and for that beautiful love to be shortlived is what made sense to my story.

8.What is your inspiration for making such wonderful films?

I am really intrigued by people who have been sidelined in the society. I feel the world appreciates and praises people who fit in but not otherwise. I’d like to tell stories of such outliers and through my movies create empathy rather than sympathy for them.

9.What were your own emotions when you were shooting for this movie?

While shooting I was more in a laser sharp mode of execution. While writing the script though I was quite emotional and also after watching the final cut .

10.What’s your take on love and relationships?

Love is boundless you can fall in love with anything , anyone anywhere at anytime. Relationships are structures built by humans to encapsulate this love for their own emotional security cemented by rules & condtions.

Structures are good, as long as they evolve with time, basically redfiniing the rules and conditions to suit the evolving relationship and the times we live in.

Lastly, we are glad to talk to you. I hope you enjoyed working with us!

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The director Peter focuses on camera angles to bring out the emotions of the character. Joe is either resting on the edge of his bed or strolling around in his room. The director shows Joe in various camera degrees which tries to portray how stressed and helpless he feels as an influencer. His world is his phone and he tries to use his content and creativity to get noticed.The life of Joee isn’t easy, yet he tries to greet his followers with a smile, hoping that it would fetch him more followers, because of which he can again get brand endorsements that would help him pay the bills.

What makes this film special is that it has a contemporary touch to it and is very relevant to the real world. The life of an influencer isn’t easy and Joe the character portrays the emotions and the turmoil pretty well. However, the real credit goes to the director who has everything figured out and has very beautifully displayed the character, the issue and how fake social media can be. While many might think that Joe is living a lie, being an influencer is his bread and butter. Even if he is stressed, he has to fake a smile in front of the camera, buy fake followers using crypto and show off a fake fitness routine for running miles in the morning to get the fit body he has.

The movie is a great learning experience for teens and adults alike. It shows how fake social media can be and how they should not follow their favorite influencers blindly. While most of the followers are bought with the help of crypto, the remaining few are actually being filled by the influencer who is more interested in earning money by partnering with a brand. The director Peter is also the producer and writer of this masterpiece and has very explicitly shown the real raw truth of the life of an influencer.

Fake is the new word of the virtual world. Yes, the virtual world is capturing the essence of the real world, but the director shows that everything is fake and built up just to make a sale or increase one’s popularity. The director uses his creativity and intellect to write the dialogue and ensures that the character enacts the perfect version that shows off the fear, frustration and anger of an influencer who is going down. So, the next time you go online and find an influencer smiling and recommending a brand, Joe’s story will surely come to your mind – the freaky fitness influencer who might have had a fit body, but was mentally sad and monetarily broke trying to make ends meet yet showing off on social media about his so-called – ‘fun life’ – all that glitters isn’t gold stands true for the virtual world.

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Our world is full of heartbreaking stories and innumerable injustices. We should all try to do our part by shedding light on them in whatever way possible. This was ours.

What are the challenges that you faced while making this documentary?

It was a very difficult subject to deal with emotionally because of the nature of the crime and the age of the victim. We struggled a lot with coming to terms with that tragedy. Also, the distances between the US, India, and Pakistan. But we had a wonderful team, both in India and Pakistan, who helped make this happen.

Why do you think that this girl was targeted and not anyone else in her place?

She was very young and trusting and vulnerable, so she made an easy target for people with bad intentions. Since she was a hard-working young girl from a poor family, she often went out on her own to graze the horses, which gave the opportunity for the tragedy.

Do you think the world is a safe place for women?

In all honesty, no. We constantly hear horrific stories of rape, abuse, murder all around the world. It’s a dangerous and terrifying time to be a woman.

Do you feel that there is only one Asifa Bano or are there several other unknown and untold stories similar to hers?

Unfortunately, Asifa is not the only little girl to have suffered such a horrible fate. Crimes like this aren’t particularly uncommon and there are many other little girls whose stories remain untold.

What do you think women can do to protect themselves from rape and then getting murdered?

The only thing would be becoming more aware of one’s surroundings, teaching young girls about the dangers that dwell outside, and not to be so trusting.

Asifa was not a woman, but an 8-year-old killed. Do you think the rape, torture and murder were just for the sake of driving her people away or was there any other intent?

The primary motivation was to terrify the Bakerwal people and drive them from their homeland. This was a way of asserting dominance over them and instilling fear. Even after Asifa’s death, they continued harassing these people, from the time of the funeral and very likely continuing.

Do you think Asifa Bano and such cases like hers get the justice they deserve?

Very often justice is delayed and even denied in these types of cases where the accused have powerful connections. In my opinion, there can never really be justice for a crime so horrific and so heinous, but everyone expected capital punishment at the very least, which did not happen.

What do you think should be the punishment for rape and murder cases that involves children and women?

I firmly believe in cases like Asifa’s, capital punishment, because these people will continue being a danger to other innocents and an example needs to be set.

As a woman, what’s your take on Asifa Bano’s unfortunate incident? How can such things be avoided in future?

Unfortunately, until more protections for women and children are put in place in these regions, there is not much that can be done except for remaining vigilant and avoiding high risk situations by educating and guiding our young ones on the dangers that exist. However, even then, these horrific incidents still happen and action needs to be taken.

What do you think can instill fear in the hearts of men? Do you think these rapists are regular men or wolves in disguise?

The types of crimes these people commit can’t be considered human. There is something seriously wrong and I firmly believe capital punishment as the only viable deterrent when proven guilty without a shadow of a doubt.

The post Interview | The Asifa Bano Story appeared first on .

Hello Omid! It’s nice to have you here. Please give us a brief note about how your journey began in the world of films, movies and drama. What fueled your interest and curiosity in this field which later became your passion?

I have always been excited about creating a world through images, the main reason why I got
into photography. However, photography couldn’t enrich me. Watching films in the cinema
mesmerized me since childhood, and I wanted to be the creator of my own images, and
photography wasn’t enough for me to fulfill this dream. At the earliest opportunity provided, I
decided to create my own stories through cinema and film production.

What made you choose to make this film? While there is love at the backdrop, the film is about pure love too. What made you connect these two things?

At a certain point in my life, I was caught up in migration and forced relocation, and this idea
came to my mind. People in this region of the world have had forced migrations throughout
history, and this became the theme of making this film.
My perspective is different. On the surface, the film is about love, but the underlying layer is, in
fact, about war, the bitterness of war, and the impact of war.

What are the challenges that you faced while making this movie?

The main challenge was connecting with two teenagers who had tasted the bitterness of being
migrants and being impacted by war. I had to get close to them and understand how they
perceive love.

Do you think that the concept of this teenage love will have an impact on the audience and why do you think it would resonate with your audience?

All people who live under normal circumstances fall in love during adolescence, and every love
has its own challenges. In my view, love is an archetype, and telling stories of love is never
Repetitious.

How would you describe the film in your own words?

In one sentence, wherever war appears, it first takes away beauty and love, and then achieves
its goals.

What do you think can stop a war?

Nothing can ever stop a war, but if anything can, it is human awareness.

What inspires you to make such movies that are thought-provoking to the core?

In my own country, there have been many tough political and social events, and I always
wondered why ordinary people have to suffer so much.

Have you planned your next film?

Yes, I am working on a new screenplay that is once again about children and war. A war
drama….

What were your emotions while you were shooting for this film? Do you have any memories?

The hardest moment for a director is the initial shooting moment, where you have to review
again and ask yourself if you want to do this?
Working in this medium is full of wonderful moments. The most challenging and interesting
memory was when two adolescent characters in this film had a quarrel and did not talk to each
other.

Do you think this movie will create awareness amongst the people?

Inherent in art is awareness. If art is not enlightening, it is not art anymore.

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This movie talks about how artificial intelligence comes as a blessing but due to human intervention and the greed for getting more and more out of these robots, humans slowly and gradually lose their powers, making AI and robots more powerful than ever. While artificial intelligence and robots might seem programmed and something that’s completely under control, this movie shows that it’s far from the truth. Robots need to be programmed to serve  humans. Given too much power, robots can become the most dangerous thing in the world and even kill humans. This movie revolves around the fact that how too much power can end humanity in the hands of robots who have been programmed to kill and usurp power.

While this movie is about the power of artificial intelligence, it’s truly thought-provoking and might make you think about what the future holds if robotics and AI are not controlled or if we lose the remote that’s controlling AI. While AI is definitely a blessing, once you lose control, even a small robot can become a deadly instrument for mankind resulting in the end of the human race.

The movie starts with a bunch of teenagers visiting a hotel to spend quality time with friends and family. The hotel has a staff of humanoid robots who would be serving them at the table, and even at the reception. The movie shows how the kids and adults are enjoying the wining and dining at the hotel; Food and beverages are served and the smiles on their faces show their satisfaction. However, the problem arises when humans find that the robots are not programmed to cater to all their requests. Yes, the humanoid robots start to decline requests that they are not programmed for. At this point, the humans think that with time they will fix the programming so that all their requests and demands are served by the robots. That’s the moment from where the trouble starts.

As humans readily want more and more services from humanoid robots, they are programming the AI tools accordingly to serve their own interests. Little do they realise that as soon as the robots are gaining more power, their strength is increasing and their decision-making abilities are coming to par with humans – in short, the robots are becoming more powerful and have started occupying the space that was once reserved for humans. The robots have started doing human activities participating in dance shows and even dancing with partners. The activities of the humanoid robots start becoming so similar to humans that it’s troublesome to tell the difference between a human and a robot. Both start talking, nodding and behaving just the same.

However, things don’t just end there! Day by day humans give the humanoid robots power and things start to slip away from their hands. Robots now have the power to kill. While this might sound scary but it is the truth. Robots have been given power by humans and as they start getting stronger they start behaving just like humans. With different changes and shifts in programming, the robots start to learn new things and at the end of the movie, it’s seen robots sitting with one another, attending meetings and taking decisions.

While once upon a time, robots were just machines that followed orders, with the passage of time and with advanced programming, the machines gained as much power as a human and with advanced features, they hold the power, strength and desire to kill a human. The movie might raise an alarm and fear among the masses, how humanoid robots have the capability to kill humans if not controlled. While our demands for luxury and good living keep increasing, the robots have the power to turn the tables, if they are not guided in the right direction and controlled to make the right choices and be included in the correct activities.

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Do you believe in demons and spirits?

To some extent yes, but I don’t believe that according to popular beliefs, demons control our world or are freely present among us. My view on this issue is deeper and philosophical.

What inspired you to make this movie?

I believe in the existence of shadows in the human psyche, which are the result of our experiences throughout our lives. My inspiration was the way the shadows faced the light to create this story.

What does the painting depict?

The painting is an abstract picture of the shadow part of our being that is rough and black and hidden within us. We do not find it on the white canvas of our soul until we touch it.

You are from Iran. So, you must have heard interesting stories about fairies and jinnis. Is there any particular story that you would like to share with us?

Absolutely, In the folk culture and legends of the ancient world, especially the Middle East, there are many stories and legends about demons, ghosts and goblins, but the very interesting and real issue is that today in the south of Iran, people strongly believe in an inorganic creature called Zar. Which dissolves inside the person’s body and takes control of his life. It is more interesting that in the villages there are many people who have zar inside their body, as well as local healers or shamans who are called zar baba or zar mama they remove Zar from patient’s body through a special process. The ceremony of removing the zar from the body is very interesting and spectacular. Of course, I think this tradition has entered southern Iran from Africa.

The painting shows a person trying to call for help. Do you think that the demon wants help or was the painting depicting the misery of the demon’s last victim?

If we look deeper into the story, according to what has been said, it depends on what attitude we have towards our shadow, whether we intend to help and correct the dark part of our existence that we have ignored, or whether we intend to suppress and fight with it. Conclusion It is different, I have left the end of the story open.

Is there any cultural significance as to why demons are depicted in black in the movie?

The shadow is a direct result of the light, the more intense the light, the deeper the shadows and both complement each other. Black is the color of shadow, and it seems that according to legends, since demons are banished to night and darkness, we imagine them with clothes or dark colors like black.

Do you think that if the girl did not touch the painting she would have been saved from the situation?

This is a very intelligent question. Of course, according to legends, inciting demons brings misfortune because they are full of anger from being ignored and banished to the depths of the world. But if we believe in their existence, then they exist and they are the complementary half of our world, so we cannot ignore them and we will have to face them in many cases. From a psychological point of view, the shadow is the complementary half of the bright part of our psyche, and we are always faced with the choice of two ways: to face or to run away. I personally prefer confrontation and recognition because it is full of experience and requires a lot of courage. The beautiful girl tried to control her world without caring about the red lines, and her confrontation with the shadow that appeared on the clean and white canvas means accepting both aspects with complete courage.

“Put it back bitch” is what the demon ordered the protagonist. Do you think that if she placed it back, she would have been saved? Isn’t it better not to instigate the demon?

I don’t think so, the canvas was inside the house or in other words inside the private space of the girl’s residence and if it was ignored, sooner or later she would have to discover its mystery, in other words if today we ignore the shadows or the darkness They will not disappear only in our psyche or in the world, but soon we will be forced to accept and recognize their nature, although I believe that confronting them should be based on correct knowledge, otherwise it will cause irritation and disturb peace.

What was most challenging while making this movie?

The biggest challenge was creating apprehension and fear in a very happy, optimistic and unpredictable situation. I think the horror genre is one of the most difficult genres in the short film section, especially if it is a story with psychological themes.

Do you wish to make a sequel to this movie?

Yes, I will definitely do it as soon as possible.

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