Staff Pick: "The Tunnel" by Arash Ashtiani

This Week's Staff Pick Premiere, "The Tunnel," BAFTA-nominated filmmaker Arash Ashtiani tells a tense story of three refugees fighting to survive along the Euro Tunnel which links France with the UK.

Based on true stories The film has not been influenced in it's portrayal of courage and sacrifice that is not rightfully imposed on the many millions of people who fight for fundamental human rights. "The Tunnel" takes us to the third and most tense part of a bigger story Ashtiani is writing along with co-author Daniel Metz. However, it stands by itself as an enthralling and dark tale of how far three characters are willing to take on a new life.

Ashtiani relates his experience that was a part of his research for this film by describing the experiences as "rollercoasters" that present both emotional and physical difficulties. The movie captures the emotional intensity beautifully with the striking visual design of the tunnel as well as the finely edited editing that varies between the camaraderie built between the individuals inside the tunnel, the fear increasing that the train will have a chance to pass while the calm in the train station.

     Prior to the movie's launch the film was released, we had a conversation with Ashtiani for more information about the film's process and methods to make it. Get a more detailed overview of his process to create impressive and powerful film.

     The inspiration behind this film    

"'The Tunnel'" was the result of an actual story. My friends' circle in London is comprised of people who came to the UK via a variety of different ways, and some in the most amazing and tragic ways over the past twenty years. One of the topics that we talk about is how we arrived to the UK and how some traveled from Calais to Kent using different methods of travel.

     When I heard their tales, I felt compelled to tell them. Their stories could be described as being a rollercoaster of emotions and events to me. The people they meet face difficulties and dreams as well as the drive to get moving as well as the strength. Physical and mental exhaustion and times when their characters are tested. The film is filled with laughter and happiness when they are at their lowest, which is the thing which inspired me to create the movie. . "

 When creating:

"'The Tunnel the Tunnel'' marks the last scene of the play that Daniel Metz and I wrote in collaboration. The first two scenes follow the characters on their way to Calais for training in order to operate the Tunnel. We completed the initial version of our feature script back in the year 2015. Then we created the short and now we are making the next version of the feature script.

     It was not the intention to create a film about refugees However, during the process of researching and the writing of the script we spoke with refugees who were in Calais and then travelled across the UK. We read their memoirs, people who were refugees and recorded their experiences, made plays and made documentaries. We also watched movies about the camps of Calais and how refugees live there. "

HTML1 for the design of cinematography and production:

"From the beginning of the writing process there was an issue of which location to film the tunnel. We knew a little bit about the actual EuroTunnel however, while we were keen to capture the true essence and the uniqueness of it, we didn't want limit ourselves to these particulars. After hours of searching for locations We came to the conclusion that it would be ideal to shoot in a studio. The problem was to make extensions to each side of the stage.

     Mike McLouglin, our production designer, did an amazing job of re-creating a part of the tunnel within the studio. Nick Morris, our DP was awestruck by how he shot this scene. One of the biggest challenges was making extensions on both end of the stage so that the tunnel could be seen as a vast empty white space. Mike added an extension with the concept of having an end mirror which means that when the camera is looking towards the opposite end of the tunnel, you can see an infinite tunnel. Mike made a scale replica of the tunnel. we used an Hornby Eurostar model train with the smallest lens which was connected to it. This allowed us to capture images of the train traversing the tunnel. The train was a bit bizarre at first, but once Static VFX then brought their skills and magic into the post-production, everything began to make sense and look amazing.

     We decided to move closer and closer to our principal character over time as we moved through. Each time we move from the station to the tunnel, we're closer to the protagonist, which makes us feel like having been inside the tunnel and also the fearless determination to get through it . "

HTML0In the process of editing of the film

"The edit of this film was among the most intriguing aspect of the entire process. One of the major tasks I had was for ways to build tension and suspense. Co-writers Daniel Metz and I had written it into the script. However, I understood this in the editing process and have to acknowledge the editor for the movie Stuart Gazzard for this.

     In the process of editing, I figured out the type of detail we needed to add bit by bit in order to build suspense. The film was shot using Gare du Nord's station scenes and also the model train once we finished our rough cut. The editing process made the film more recognizable by clarifying the character as well as creating suspense. the way in which the film is filmed. "

The challenge in making the film

     "I think that generally filmmaking can be a difficult task. One of the biggest challenges filmmakers face is finding the money to produce their films. It took me two years to identify producers. Anna Seifert-Speck had been leading a program at Berlinale Talent Campus where she was able to hear me speak about my project. Then I met Anna Griffin. Together, we raised money through Lush Film Fund and the BFI Network and Lush Film Fund.

     The method of filming and actions scenes differs than emotional ones. The difference was apparent when I shot the scene and the difference became clear to me. When I look back on the shooting, I am aware that I used the same amount of time between actions and more emotional ones that could have been shot differently... The best way would be to convey the thrill and urgency of the escape as well as the running into the scene through an earlier and faster time-frame and spending more time in the moments between actors. "

On hopes for the movie:

"I believe that what is continuing to increase is the growth of Nationalism and populist politicians in British as well as European administrations. This is because the government uses racism and anti-migrant sentiments for their own political benefits.

     As per the latest British law that was adopted just a few weeks ago the males who are similar to The Tunnel's characters' will be relocated to Rwanda in the near future waiting for the cases that refugees face to be dealt with. It is my hope that viewers realize those going through the mud to make it to the popular refugees of the show are real people with hopes for a better existence and a tranquil and satisfying living. People flee their homes and their countries due to conflict and religious fanaticism or financial hardship. It is crucial to ensure that they are treated with respect so that they can become part of the society, rather than being labelled as criminals.

I'd like to believe that after seeing a couple of strangers in a bizarre setting, going through the challenges of human desires, the audience will recognize their commonality and recognize them as human beings. "

 For aspiring filmmakers:

"Filmmaking isn't an individual job , and it's a collaboration. Find people who inspire you to do what you're trying to achieve. A trust in their tastes is vital to creative collaboration. Trust comes from knowing people. Spend time with them in the amount you think you need, and observe their thoughts and request them to share with you their top 5 films, and then see whether you are able to connect with them , or not. It doesn't matter whether they're close to the movie you'd like to create or not It will allow you to see if your worlds are interconnected and if you share similar visions of your film.

     Do not let the technical side of your story bog you down and compromise your narrative due to the technical aspects.    

     Respect your colleagues and do not make sure you're not demanding! "

What's next?

     "Developing and directing 'The Tunnel" film feature is what I'm currently doing. The story of the characters unfolds from the time they enter the tunnel. The script's co-writer, Daniel Metz, and I have written the feature-length script based on the lessons we have learned from the making of the short.

     I've just finished the feature-length documentary about the Iranian poet who was exiled, Esmaeel Khoei. She died in London in 2021. The movie was heavily based upon VHS tapes he amassed during his first days living in exile. The album will be released in October . "

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