Staff Choice: "The Tunnel" by Arash Ashtiani

This week's Staff Pick Premiere, "The Tunnel," BAFTA-nominated director Arash Ashtiani is a heartbreaking story of three refugees fighting to their deaths by The Euro Tunnel that connects France as well as the UK.

Informed by real-life accounts, the film is unflinching in its representation of the sacrifice and courage inexplicably demanded from thousands of people who seek basic human rights. "The Tunnel" is a plunge into the third and most tense part of the larger narrative Ashtiani is developing alongside his partner in crime Daniel Metz. However, it stands on its own as a gripping and scary account of the extremes three people will go to in pursuit of a better future.

Ashtiani shares his stories of the experiences he heard in preparing for the movie as "rollercoasters" with physical and emotional challenges. The feeling of the experience through the vibrant visual style of the tunnel and the precise editing that is a whirlwind of camaraderie among the people within the tunnel, with their anxiety increasing as they watch the train approach through the tunnel. Then there is the peaceful eerie silence of the station.

     In advance of the screening We spoke with Ashtiani to get more details about the film and his process for making the film. Take a look to find out more details about how he came up with this captivating and thrilling film.

     This film was the source of inspiration for this film    

"'The Tunnel' is resulted from an actual tale. My friends' circle located in London is comprised of those who moved to the UK through a variety of different methods along with some incredible and tragic ways over the past twenty years. The topic that we talk about is the way we all came into the UK and how some came via Calais to Kent by different modes of transportation.

     As I heard their stories I felt compelled to share their tales. The tales they share could be described as an emotional rollercoaster ride of events and emotions for me. They face challenges and the objectives that they've set their minds upon, their determination to move as well as the drive. There's mental and physical exhaustion as well as moments where their personality is placed under pressure. It's got laughter and life at the lowest point and that's what which inspired me to create this documentary. . "

While creating:

"'The Tunnel" is the third scene in the film script that Daniel Metz and I wrote in collaboration. The first two scenes follow the characters in Calais getting to know how to use the Tunnel. The first draft of our feature script in the year 2015. Then, in the time since we've made short films. We are now writing the new version of the feature script.

     We didn't want to make an emotional film about refugees. However in the course of researching and writing the story, we talked to the residents who lived in Calais before settling in the UK. We read about the experiences of refugees who created their own stories, and watched documentary films, plays and other films which focus on the camps in Calais as well as the lives of those living there. "

The design of the production and cinematography

"From the stage of writing we were faced with this issue of how we could shoot the tunnel. We knew a little bit regarding the EuroTunnel but even though we wanted to capture the true character of the tunnel we weren't looking to limit ourselves to those specifics. After months of looking for locations, we came to the decision that it would be better to shoot in a studio. It was a challenge we could create an extension for every part of the production.

     Mike McLouglin, our production designer, has done amazing work in creating a new section of tunnel inside the studio. Nick Morris, our DP was stunned by the way he shot it. One of the biggest challenges was to create extensions for each side of the set  to allow viewers to view the tunnel as vast empty black space. Mike extended it with the idea of using the mirrors on both ends in order that, when the camera is at the other side it can be seen through the endless tunnel. Mike constructed an exact scale version of the tunnel. Then , we utilized a Hornby Eurostar model train with an extremely small lens attached to the model to film video footage of the train actually traveling through the tunnel. The concept was a bit odd at first, but when Static VFX then brought their abilities and magic into the post-production process, things began to look and feel incredible.

     We decided to make our way closer closer to our character as time went in. Every time we take a cut through the station and into the tunnel, it draws us closer to the protagonist, which aids in creating the sensation of being in the tunnel, and also the brave efforts to run it . "

HTML0On the editing of the film:

"The editing process that was used for this film was among the most interesting aspects of the entire procedure. The main goal for me was the ways we could build suspense and create tension. My co-writer, Daniel Metz and I had put it in the script, but I was able understand that I understood this during the editing stage and must acknowledge director of the film Stuart Gazzard for this.

     Through editing I found out what type of details we needed to gradually introduce in order to create suspense. The film was made by Gare of Nord Station footage as well as the model train, after the rough cut was completed. Editing was instrumental in shaping the story, making the protagonist, adding suspense, and how the story unfolds. "

A closer look at the difficulties of making the movie

     "I think that generally filmmaking could be difficult. One of the biggest challenges film makers face is finding funds they require to make their movies. It took me two years to identify producers. Anna Seifert-Speck, the director of the talent program at Berlinale Talent Campus where she witnessed me show my ideas and put me in touch with Anna Griffin. Together , we have raised funds through Lush Film Fund and the BFI Network and Lush Film Fund.

     The way of thinking about shooting and action sequences is different from emotional scenes. This was evident during shooting and the distinction was apparent for me. In analyzing my shooting experience, I realized that I spent the exact amount of time between scenes of action as well as emotional scenes that could have been shot in a different manner... I could have brought out the enthusiasm and excitement that the escape scenes bring as well as running through scenes in the fastest and the most intense time-frame and spending longer with the interactions of the actors. "

 On hopes for the film:

"I believe that what will become more severe is the growing of Nationalism as well as populist politicians within British and European government. It is the government that uses anti-migrant and racist beliefs to benefit the world of politics.

     With the introduction of the new British law that was approved just months ago, men of a certain age, as in the film 'The Tunnel are now being transferred to Rwanda within the next few months waiting for their case to be reviewed. It is my hope that viewers will realize that the people going through hell in order to reach the refugee camp that is adored by viewers are also human beings who are looking forward to a better future as well as a more peaceful and fulfilling life. Many flee their homes as well as their country due to war and religious fanaticism or financial hardship. It is essential that they receive humane treatment in order to become an integral part of society rather than being labelled as criminals.

I'm hoping that, by seeing a handful of strange characters in an unfamiliar setting going through a challenge in the face of human fundamental needs, audiences see their commonality and recognize these people as individuals. "

 A note of guidance for filmmakers who want to be successful:

"Filmmaking is not a solo job , and it's a teamwork. You should look for those who will inspire you to do your best work. The trust in their tastes is crucial to a creative partnership. This is due to knowing the people you are working with. Meet them as often as you're in need. Take note of anything they have to say. You can also ask them to discuss with you their top five films and then see if you can connect with them or not. It doesn't matter if they're near to the film you'd like to make It will help you discern if you share the same worldview as well as the possibility of sharing similar goals to make the film.

     Don't let the technical side of your story slow you down Don't let your story get ruined by focussing on technical issues.    

     Do your best to be courteous and respectful of your coworkers Don't make demands on them! "

What's next?

     "Developing The Tunnel movie feature is the next film I am working on. The story of the characters unfolds from the moment they walk into the tunnel. The co-writers, Daniel Metz, and myself have been working on the feature-length script with what we learned from the making of the short.

     I've just finished a feature-length documentary about the Iranian poet who was exiled, Esmaeel Khoei. The poet died in London in 2021. The film was mostly based on VHS tapes he'd collected during his first period of exile. The film will be out on October. . "

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