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 who fight for their lives on the Euro Tunnel that connects France with the UK.

Informed by real-life accounts and based on real stories, this film stands strong in its representation of the courage and sacrifice that is unjustly demanded from the millions of people who seek basic human rights. "The Tunnel" leads us into the third and most tense part of the bigger story Ashtiani has been writing along with his co-writer Daniel Metz. However, it stands alone as a gripping and terrifying account of the extremes that three individuals will go to for the sake of living an improved life.

Ashtiani describes his experiences as the film's director heard during the film's preparations as "rollercoasters" of physical and emotional tension. The sensation of tension is captured through the enveloping visual layout of the tunnel and the exact editing which is a whirlwind of camaraderie between the people in the tunnel. Their fear is getting more intense as the train draws closer in addition to the peaceful of the station.

     In advance of the premiere We spoke with Ashtiani to get more details about the film and the process he used to make it. Check out an in-depth review of the process he used to pull off such an engaging and ambitious film.

     is the main source of inspiration for the film:    

"'The Tunnel' was inspired by a true legend. My circle of friends located in London includes people who came to the UK via a variety of methods, as well as many who have come to the UK in both heroic and horrifying methods over the last twenty years. The most frequent topic we discuss is how we arrived in the UK and the way that some of us arrived direct through Calais to Kent with different modes of transportation.

     After listening to their stories, I was compelled to relay the stories they told me. The stories they tell could be described as a rollercoaster ride of events and emotions to me. The challenges they confront as well as the dreams they keep with their heart set on the determination to get moving, and also the energy. There's physical and mental exhaustion and moments where their humanity is put to the test. The film is full of happiness and hope even at the lowest point which is what which inspired me to create the story. . "

On the writing process:

"'The Tunnel" is the third and final act of the script for the film Daniel Metz and I wrote with Daniel Metz. The first two scenes take these characters on their way to Calais where they learn to operate the Tunnel. The first draft of the feature script was completed in the year 2015. Since then we made the movie and now we're creating the sequel to the script for the feature film.

     We didn't want to make the film in a way that was anti-refugee, but during the course of our research and writing the script, we spoke with those who resided in Calais and then travelled into the UK. We read memoirs by refugees who have written their own narratives. We also played plays, as well as documentaries. We also watched films on the camps of Calais and the way people live there. "

 on the design of production and cinematography

"From the very beginning of our writing process we were faced with this issue of how to go about constructing the tunnel. We had a lot of specifics about the EuroTunnel however, even though we wanted to preserve what was unique about the tunnel, we weren't going to restrict ourselves to those particulars. After months of looking for the perfect location and exploring, we came to the choice that it was more efficient to shoot in the studio. The challenge was how to create extensions for every side in the building.

     Mike McLouglin, our production designer, has completed amazing work in re-creating one of the tunnels inside the studio. Nick Morris, our DP was awestruck by the way he shot it. One of the challenges was creating extensions on each side of the set , so that viewers could perceive the tunnel as an infinite empty black space. Mike extended it with the genius idea of putting the mirrors at both ends to ensure that when you look at each end you see an endless tunnel. Mike made the model in the scale of the tunnel. The model was built using an Hornby Eurostar model train with the tiniest lens which was attached to it. It allowed us to record images of the train's journey through the tunnel. It seemed bonkers however, once Static VFX then brought their experience and expertise to the post-production process, everything started to be logical and look stunning.

     We decided to move close to the character over time as the years went in. Every time we make a cut between the station and the tunnel, it draws us closer to our main character , and this allows for a feeling that is more personal to the tunnel as well as the shrewdness required to traverse the tunnel . "

After editing the film:

"The editing process of this film was among the most interesting aspects of the whole process. One of the most important goals for me was to see how we can make suspense and tension. My co-writer Daniel Metz and I had written it into the script. However, I could not comprehend it properly during the editing process and I must acknowledge director Stuart Gazzard for this.

     In the process of editing, I found out what type of details we should gradually introduce in order to build suspense. The film was shot using Gare de Nord train station footage, as well as the model train after the rough cut. Editing helped shape the story by making the protagonist a central character as well as adding suspense to the pace of the film. "

 In the process of creating the movie

     "I consider that in general, making films is challenging. One of the biggest challenges filmmakers have is getting funds to produce their films. It took me a long time to identify producers. Anna Seifert-Speck had been leading the program on the Berlinale Talent Campus where she saw me present the idea and brought me in contact with Anna Griffin. The project was funded by Lush Film Fund, The BFI Network and Lush Film Fund.

     The approach to shooting moving or action scenes differs in shooting emotionally charged scenes. The difference was apparent while shooting and the distinction was clear to me. Looking back at my shooting experience, I realized that I spent an equal amount of time between scenes of action and emotionally charged scenes that could have been done differently... I could convey the passion and urgency of an escape sequence and then run into the scene by shooting them with the fastest and most intense time-frame and taking longer to capture the interaction between the characters. "

With hope for the film:

"I think the main issue which is growing in importance is the growth of Nationalism as well as populist leaders in British as well as European government. The government is the one who makes use of racist and anti-migrant views for economic gain.

     By the new British law, which was adopted in the last few months ago, teenage male refugee's like the characters in the Tunnel' will be transferred to Rwanda starting from this point so that they can wait for the refugee cases that need to be handled. It is my hope that viewers can see that individuals who suffer through the hell of getting to this beloved refuge for the audience. They are human beings and are full of hope for an easier life as well as a more peaceful and fulfilling existence. They escape their countries and homes due to war, the fervor of religion or economically difficult circumstances. They better get humane treatment to allow them to join the community instead of being labelled as criminals.

I'd like to think that when looking at two characters set in an unfamiliar location and having to face challenges due to human basic needs, audiences see their commonality and recognize the characters as individuals. "

A word of advice to film makers who have ambitions:

"Filmmaking is not a solo job , it's a teamwork. Look for people that make people excited about the project you're trying achieve. Their confidence with your personal tastes is vital for creative collaboration. The foundation of trust is knowing your fellow colleagues. Spend time with them in the amount you think you need, and be attentive to their words Ask them to talk about their top five films and determine if you connect to them in any way or not. It doesn't matter if they're close to the film you'd like to make or not however it will allow you to determine if your worlds are close and you share the same vision for your film.

     Don't be a victim of the technicalities of your story slow you down. Don't let your story suffer because of the technical aspects.    

     Be respectful to your colleagues and insist on it! "

Next step is:

     "Developing and making "The Tunnel" feature film is the next project I'm making. The characters' story unfolds from the time they step into the tunnel. The script's co-writers Daniel Metz, and I have been working on the feature-length script based on the lessons we have learned during the making of the short.

     I've recently finished the feature-length documentary on an Iranian poet who was exiled, Esmaeel Khoei. Her death was in London in 2021. It's mostly made up of VHS recordings he had accumulated in his first period of exile. It'll be released in October . "

This post was posted on here