Staff Pick: "The Tunnel" by Arash Ashtiani
This Week's Staff Pick Premiere, "The Tunnel," BAFTA-nominated filmmaker Arash Ashtiani tells the harrowing story of three refugees fighting to death in the Euro Tunnel connecting France to the UK.
Based on real stories, the film does not change in its portrayal of the strength and sacrifice unjustly required from millions of people who fight for basic human rights. "The Tunnel" takes us to the third and most tense part of a bigger story Ashtiani has written with writer Daniel Metz. However, the short story is an individual piece of work that is a powerful and terrifying tale about the lengths three people will go to for the sake of living a better life.
Ashtiani describes his experiences that were a part of the process for making the film in terms of "rollercoasters" that involve emotional as well as physical challenges. The movie captures the emotion is beautifully captured by the vivid visual style of the tunnel as well as the careful editing, which varies between the camaraderie between men and increasing fear that builds when trains are approaching as well as the quiet of the station.
Before the premiere of the film, we spoke to Ashtiani for a deeper discussion about the process of making the film. Find out more in-depth review of the method he employed to pull from such a stunning and ambitious film.
This film was the source of inspiration for this film
"'The Tunnel' is actually a story. My friends' circle in London is made up of people who moved to the UK in a myriad of methods and in some of some of the most tragic and amazing ways during the past twenty years. One of the subjects we talk about is how we all came to the UK and how some are coming from Calais to Kent by different modes of transport.
After I had heard their tales and heard their stories that I was motivated to share them with others. Their tales can be described as being a surreal ride of emotions and events for me. The obstacles they face along with the targets they establish and the need to keep active, as well as the drive. The film is filled with mental and physical exhaustion, as well as moments where their characters are put to the test. It's a joy and laughter in the most difficult of situations. These are the elements which inspired me to create this film . "
The writing process
"'The Tunnel" is the third and final act of the feature script that Daniel Metz and I wrote in collaboration. The two first scenes take place after those who are at Calais getting ready to manage the Tunnel. We completed the first draft of the feature script back in 2015. After that, we wrote the script for the short and now we are writing the second version for the feature script.
We weren't looking to create a social film about refugees. But, of course, when we were conducting research and script-writing, we talked to the refugees who were in Calais before moving into the UK. We read about the stories of refugee and created their tales in plays, as well as documentary films. We also watched movies that focus on the camps of Calais as well as the lives of people in the camps. "
on the design of cinematography and film production:
"From the start of our writing process we had this question concerning which direction to take the tunnel. We had some information about the actual EuroTunnel and even though we wanted to show its true character tunnel, we did not want to limit ourselves to these particulars. After months of searching for locations and scouting, we arrived at the conclusion that it would be best to work in studios. There was an issue with making extensions on each side of the stage.
Mike McLouglin, our production designer, has performed an incredible job in re-creating the area that is in the studio. Nick Morris, our DP performed a superb job of the way he shot it. One of the difficulties was creating extensions on every aspect of the stage in order to view the tunnel as a vast empty space. Mike expanded it using the clever idea of installing a mirror on each end to ensure that when the camera is looking at one end or the other, it can view the entire tunnel. Mike created a scale replica of the tunnel and we used an Hornby Eurostar model train with tiny lenses that were connected to it. This allowed us to capture footage of the train's movements within the tunnel. This was initially a strange idea but after Static VFX then brought their skills and magic to the post-production, the footage became clearer and began to appear stunning.
We decided to get closer to the principal character over the course of time as we went through. Each time we cut between the tunnel and the station, it brings us closer to the protagonist , and the tunnel aids in creating an internal experience of the tunnel, and also the fearless attempts to make it run . "
On the editing of the film:
"The editing of this film was among the most intriguing aspects of the whole procedure. One of the main objectives I set was to figure out the ways we could build suspense and tension. My co-writer Daniel Metz and I had thought of it when writing the script, but I understood this during the editing phase and have to acknowledge the film editor Stuart Gazzard for this.
As I edited the film, I learned what kind of information I should introduce little at a time to build suspense. We shot the Gare du Nord station shots and also the model train, after rough cutting. Editing the story shaped it through the creation of the main character, creating suspense and how fast the film moves. "
HTML0On the challenge of making the film:
"I consider that in general the process of making films can be challenging. One of the biggest challenges film makers face is obtaining the funds needed to make their film. It took me a long time to find producers. Anna Seifert-Speck was leading the program for Berlinale Talent Campus where she could hear my talk about the project . I was presented to Anna Griffin. We both raised money through Lush Film Fund and the BFI Network and Lush Film Fund.
The technique used to shoot action sequences differs in shooting scenes that are emotional. It was evident throughout shooting and the distinction was evident for myself. As I reflect back on the shoot, I see that I was able to spend the exact amount of time between the action scenes as well as more emotionally charged parts that would have been shot in a different method... I could have brought the thrill and passion of the escape scene and speed of the action by filming them in the fastest and most dramatic time frame. I also spent more time capturing the moments that the actor's interactions. "
With the hope of the movie:
"I think what continues to get worse is the growth of Nationalism as well as populist politicians within British as well as European government. It's the government that uses the anti-migrant and racism to its own gain on the political stage.
With the introduction of the new British law, passed just a few months ago young male refugees just like the characters in "The Tunnel Tunnel' will be sent to Rwanda within the next few months in anticipation of the cases of refugees to be dealt with. I would like to think that the viewers understand those who have to traverse the hell of getting to the beloved refuge of the viewers are human beings who want an improved future, a peaceful and meaningful life. People are forced to leave the country or home they have come to in the wake of war as well as religious fanaticism and economic hardship. It is essential to ensure that they are treated with respect so that they can become an integral part of society rather than being viewed as criminals.
I'm hoping that by taking a look at two stranger characters in an unfamiliar location and facing difficulties due to human basic desires viewers will be able to recognize the characters' familiarity and view them as individual humans. "
For filmmakers who want to make it:
"Filmmaking isn't a solo project and it requires collaboration. Look for people who can motivate you to accomplish what you're trying to accomplish. Trust in their taste is essential to having a successful collaboration. The key to trust is knowing your people. Take time to talk with them when you require, then listen to what they have to say. invite them to talk about your top five movi,es and determine if you feel connected to them in some way or not. It's not about how close they are in location as the movie you're planning to make however it will help you understand if you share the same worldview as well as whether you have the same concept for the movie.
Do not let technical details of your story hijack the imagination of your readers and compromise your narrative by focusing on the technical elements.
Respect your colleagues and Be determined! "
On what's next:
"Developing The Tunnel" feature film is next on the list of things I'm working on. The story of the characters from the time they walk into the tunnel. The co-writers, Daniel Metz, and myself have been working on the feature-length script using the knowledge we gained during the making of the short.
I'm just finishing a film of a feature length about the Iranian exiled poet, Esmaeel Khoei. The poet died within London around 2021. The film is mostly based on the VHS tapes that the man had collected during his first few days in exile. The release date is October. . "
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