Staff Choose: "The Tunnel" by Arash Ashtiani

The Staff Pick for this week's premiere "The Tunnel," BAFTA-nominated filmmaker Arash Ashtiani tells the horrifying tale of three refugee families fighting for their lives along the Euro Tunnel linking France and the UK.

Based on actual events The film doesn't alter the manner in which it depicts the bravery and risk not put on the shoulders of hundreds of thousands of people fighting for human rights that are fundamental to them. "The Tunnel" is a tension-filled third section of the bigger narrative that Ashtiani is writing along with her co-author Daniel Metz. The short is able to stand on its own as a compelling and chilling story of the extremes the extent that three characters put themselves through for the cause of living an improved life.

Ashtiani relates his experience that the filmmaker of the film heard in his preparation for the film by describing it as "rollercoasters" of physical and emotional challenges. The film captures the emotion perfectly through the gentle and enveloping tone of the making in the tunnel and also through exact editing that jiggles between the camaraderie that is formed by the two men and the fear of the two men who know they know are likely to pass by and the quiet at the train station.

     Prior to the release of the film, we reached out to Ashtiani for details about the film as well as the process in making the film. Take a look through the more detailed explanation of the process he pulled from this captivating and thrilling movie.

 on the source of inspiration for the movie:

"'The Tunnel' is the adaptation of a true story. My group of friends in London is comprised of people who have traveled to the UK through a myriad of ways and in the most amazing and tragic way in the last two years. One of the topics that we discuss is the process of arriving at the UK as well as the fact that a large portion of them originate directly or directly Calais to Kent using various methods of transportation.

     When I heard their stories I was compelled to recount them. The stories can be described as an emotional rollercoaster of emotions and events to me. They are faced with challenges, and the goals they have their eyes have set, the desire to move along with the will. There's physical and mental exhaustion , and instances when their human nature is put to the test. It's a joy and laughter in the most difficult of circumstances. This was the reason I decided to write this document. . "

Writing:

"'The Tunnel' is the last scene in the feature script written by Daniel Metz and I wrote together with Daniel Metz. The first two scenes were inspired by men traveling to Calais and learning how to use the Tunnel. The original version of the feature script was written by the writer in 2015. In the years since, we have made short films and now we're making the final version of the script for the film.

     Our goal was not to create a film about refugees, but we researched and creating the script, we spoke to the refugees at Calais before traveling across the UK. We read about refugees who composed their stories, participated in plays, and documentaries. We also watched films which concentrate on the camps of Calais and how residents live in these camps. "

     The style of production and cinematography    

"From the point we started writing our script, there was the issue about how to film the tunnel. We knew some particulars regarding the true EuroTunnel however, regardless of our desire to show specific aspects of the tunnel, we weren't willing to limit ourselves to these specifics. After months of searching for the perfect site, we decided that it would be better to shoot in a studio. The challenge was to design extensions for each part in the building.

     Mike McLouglin, our production designer, has completed an incredible job of re-creating an entire tunnel that is in our studio. Nick Morris, our DP has done a fantastic job with the way that he shot the scene. The most difficult part was making extensions on opposite sides, so you can look at the tunnel from a white space. Mike added an extension using the clever idea of placing an end mirror so that when you are facing the opposite end, you are able to see the endless tunnel. Mike created a scale model of the tunnel. Then we made use of the Hornby Eurostar model train with small lenses that were linked to the model in order to film the events of the train's journey in the tunnel. The idea seemed bizarre, however once Static VFX then brought their experience and expertise to post-production, the movie began to look and feel amazing.

     We decided to move closer to the character as time passed through. When we create an arc through the middle of the tunnel as well as the station, it brings us closer to the character in front of us and this helps create the sensation that you are in the tunnel, in addition to the exciting effort to navigate through it . "

     The editing on the movie:    

"The editing process for the film was among the most interesting aspect of the entire procedure. One of the most important tasks for me was test the ways we could make suspense and tension. My co-writer Daniel Metz and I had been thinking about this as we wrote the script but I could see the concept during the editing stage and I must thank the director Stuart Gazzard for this.

     In the process of editing, I discovered what type of detail I should introduce little by bit in order to make suspense. The scenes we shot were of the Gare of the Nord Station footage and also train models after the cut. This editing helped form the film by making the protagonist clearer creating suspense and the speed of the movie. "

The challenge in developing the movie

     "I think that generally filmmaking is a challenge. One of the main issues filmmakers have to overcome is finding the funds needed for their film production. I had to wait some time to find producers. Anna Seifert-Speck was the producer for an activity at Berlinale Talent Campus where she could hear me talk about the project. She also introduced me to Anna Griffin. Together , we raised money via Lush Film Fund and the BFI Network and Lush Film Fund.

     The procedure of shooting action scenes is different from shooting scenes that are emotionally charged. This was apparent throughout the shooting process and the different approaches became evident for me. In reflecting on the shoot I realize that I spent an equal amount of time in scenes that were emotions as well as scenes that could be more efficiently shot... It was better to capture the excitement and excitement of the escape , as and the speed of running into the scene with an earlier , faster and more efficient time frame as well as spending more time on the scenes that took place among the performers. "

We have high expectations for the film:

"I consider that the major problem that continues to grow worse is the rising influence of Nationalism and populist political leaders of both the British as well as European the state. This is because the governments use the anti refugees and xenophobe sentiments for their own advantages within the political arena.

     By the new British law, approved just a few months ago, teens who are male refugees, like Tunnel's characters will be transferred to Rwanda as of today so that they can sit and wait until their cases are handled. It is my hope that viewers will realize that the people who travel through the dirt in order to arrive at the most coveted refugee camp are real people who have dreams of living the life they want, which is tranquil and satisfying. They flee their nations and homes due to war as well as religious extremism as well as economic difficult times. Their best option is to receive decent treatment so that they can join the society instead of being considered criminals.

I hope when they see the characters as a few strangers who are in unfamiliar environments, going through challenges due to human requirements, the audience will see how familiar these individuals are and view them as people. "

     for filmmakers looking for:    

"Filmmaking isn't a solo job, but it's an effort that's shared. You should look for those who motivate you to achieve what you're trying to achieve. Believing in their style is crucial to a creative collaboration. It is based on knowing your collaborators. with. Spend time with them whenever you require, then take note of any things they might have to say Ask for them to talk about their top five films that they have seen and then check if it's possible to connect with them or not. The most important thing isn't to figure out if they're located in the same area as the movie you're planning to make or it isn't. However, it can assist you in determining whether you share a common world view and you have the same perspective about the idea.

Take care not to let the technical aspect of your story take over and cause your story to be compromised due to the influence of the technical aspects.

     Make sure you are polite to colleagues, and ensure that you are persistent! "

Step 2.

     "Developing and producing "The Tunnel" feature film is the next project I'm developing. The characters' story develops as they reach the tunnel. The co-writers, Daniel Metz, and me are in the process of developing the full length script based upon the lessons we learnt during the process of making the film.

     I'm working right now on an feature-length documentary about the Iranian poet exiled Esmaeel Khoei. The poet passed away within London in 2021. The film was built largely on the VHS footage that was accumulated by him during his initial days in exile. The film is scheduled to release in the month of October. . "

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