Staff Pick: "The Tunnel" by Arash Ashtiani

This week's Staff Pick Premiere "The Tunnel," BAFTA-nominated filmmaker Arash Ashtiani tells the alarming story of three refugees battling for their lives across the Euro Tunnel that connects France with the UK.

Based on authentic stories and based on true stories, this film stands solidly in its portrayal of bravery and risk not deservedly imposed on millions of individuals who are seeking the fundamental rights of human beings. "The Tunnel" takes us to the third and most tense portion of the narrative that Ashtiani is writing with director Daniel Metz. However, the short film is it stands on its own as a compelling and terrifying tale about what lengths three people are willing to be willing to go for the chance of a brighter future.

Ashtiani describes the tales the director of the film heard in his preparation for this movie by calling them "rollercoasters" filled with physical and emotional challenges. The movie captures the emotion beautifully through the lush design of the tunnel itself and the meticulous editing which creates a buzz of camaraderie among the actors and the increasing fear that occurs when the train comes close to the tunnel, and the peaceful eerie silence of the train station.

     In advance of the film's launch, we spoke Ashtiani to find out more about the film and his procedure. Check out a deeper review of the process he used to create a compelling and ambitious film.

     The concept for this film    

"'The Tunnel' is an adaptation from a true report. My circle of friends from London is comprised of people who came to the UK via a variety of methods, as well as many who were harrowing and sad manners over the course of the last two years. One topic we discuss is how we all arrived in the UK and how some came directly from Calais to Kent using different methods of transport.

     When I heard their stories and heard their stories that I felt motivated to share their stories. Their tales can be described as a rollercoaster ride of emotions and events for me. They face challenges as well as the goals they have set, and their desire to stay active and also the energy. The documentary is full of challenges, physical and mental fatigue, and moments where their humanity is tested. The film is full of laughter and hope in the darkest moment and these are the things which inspired me to create this documentary. . "

 The writing process:

"'The Tunnel" is the third act in the film script that Daniel Metz and I wrote together. The first two acts are about the characters as they make their journey towards Calais and learning how to use the Tunnel. We completed the initial draft of our feature script in 2015. Then we created short films and now we are writing the new version of the feature script.

     The idea was not to make social films about refugees. But during the research and the writing of the script, we talked to refugees in Calais and then travelled across the UK. We read memoirs by those who had been refugees, recorded their experiences, performed dramas, as well as documentaries. We also watched films on the refugee camps of Calais and how people live there. "

 The design of the production and cinematography

"From the very beginning of our writing process, there was an issue about how to shoot the tunnel. We were aware about the actual EuroTunnel and although we were determined to capture the real characteristic of the tunnel, we weren't going to be restricted on these particulars. After months of searching for the right location, and scouting, we made the conclusion that it was better to shoot in the studio. It was challenging to develop extensions for each part that the studio.

     Mike McLouglin, our production designer, has done an incredible job of creating a new tunnel inside the studio. Nick Morris, our DP, worked wonders in how the film was shot. One of the difficulties was creating extensions each side of the set so that the tunnel could be seen as a huge black space. Mike added an extension using the clever idea of installing an end mirror which means that while the camera gazes at one end or the other it will be able to see the vast tunnel. Mike then built an exact scale model of the tunnel. Then we made use of an Hornby Eurostar model train with an ultra-small lens which was connected to it. It was used to take pictures of the train in the tunnel. This was a bit crazy, but after Static VFX then brought their abilities and their magic to the post-production workflow the idea began to appear obvious and beautiful.

     We decided to get closer and closer to the main character as time passed through. Each time we travel between the station and the tunnel it brings us closer to the character , and helps create the feeling of being intimate to the tunnel, and also the brave attempt to keep it running . "

HTML0On the editing on the movie:

"The editing process that went into this film was one the most intriguing aspects of the whole process. One of the main assignments I was given was to find ways to increase tension and suspense. My co-writer, Daniel Metz and I had considered this when we were making the script but I was able to understand this while editing the script and have to acknowledge the director Stuart Gazzard for this.

     While editing, I learned what types of things we could gradually introduce in order to build suspense. The footage was shot at footage of the Gare du Nord station footage as well as the train model once we had our rough cut. Editing shaped the film by defining the main character as well as creating suspense. the speed of the film. "

HTML0 The difficulty in making this film

     "I consider that in general the process of making films can be difficult. One of the main challenges filmmakers face is getting enough money for their projects. It took me several years to locate producers. Anna Seifert-Speck, the producer of an event that took place at Berlinale Talent Campus where she witnessed me showcase my idea and brought me in contact to Anna Griffin. Together , we raised funds from the BFI Network and Lush Film Fund.

     The way of shooting and action scenes differs in comparison to emotional scenes. The difference was more apparent during the shooting process and the distinction became clear for me. In looking back over the shoot, I realized that I spent an equal duration of time between the action sequences as well as more emotional scenes that could have been handled differently... The excitement and urgency of the escape and the sequences within the scenes by shooting them with the most rapid and intense duration and spending more time with the scenes between actors. "

With high hopes for the movie:

"I think what continues to increase is the growth of Nationalism and populist political leaders within British and European governments. The government is the one that makes use of anti-migrant and xenophobe viewpoints to benefit in the political arena.

     As per the latest British law which was approved only a few months ago teens who have been displaced just like the ones in 'The Tunnel in the Tunnel' will be sent to Rwanda in the near future, and waiting to be reviewed. My hope is that viewers understand that those who go through the hell of getting to the adored refugee camp of viewers are real and have dreams of a more fulfilling life which can be a peaceful, meaningful and happy living. They flee their homelands and their nations from war as well as religion-based fanaticism or financial difficulties. It is crucial that they are treated with dignity for them to be part of the community instead of being labeled as criminals.

I'm hoping that after watching a few strange people with no familiar surroundings, or in the face of problems due to our basic human needs, viewers will see their similarities and identify the characters as individuals. "

 Filmmakers who wish to create the following:

"Filmmaking isn't a one-man task, it's a collaboration. Find people who inspire you to do what you're trying to achieve. It is crucial to collaborating on ideas. This is due to knowing your collaborators. with. Spend in the amount that you feel you will need, then listen to what they say, invite them to discuss about their top five films and after that see if have a connection with their work in any way or otherwise. No matter if they're close to the film you're planning to create or not, it can help you to understand if your worlds are connected and whether you share an identical vision for your movie.

     Do not let the technical elements of your story take control of your imagination , and destroy your narrative by focusing on the technical elements.    

     Respect your colleagues Don't over-reach! "

What's next?

     "Developing and directing "The Tunnel" movie feature is my next endeavor. The plot of the main characters until the point they enter the tunnel. The co-writer of the script, Daniel Metz, and myself are creating the feature-length script using the knowledge we gained from making the shorter version.

     I'm making a feature-length film on the Iranian exiled poet Esmaeel Khoei. He died at the age of 84 in London at the age of 2021. The movie is built on VHS recordings that Khoei had collected during his early period of exile. Its release date is set for October. . "

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