Staff Pick: "The Tunnel" by Arash Ashtiani
This Week's Staff Pick Premiere, "The Tunnel," BAFTA-nominated filmmaker Arash Ashtiani unfolds the terrifying tale of three refugees battling for their lives along the Euro Tunnel connecting France with the UK.
Informed by real-life accounts The film remains unaffected in its portrayal of the courage and risk not deservedly imposed on the millions of people seeking basic human rights. "The Tunnel" drops us into the tense third act of a larger story Ashtiani is writing with his co-writer Daniel Metz. Yet, the short stands on its own as a compelling and chilling story of the extent to which three characters will go to for the sake of living a better life.
Ashtiani describes his experiences the film's director heard during his preparation for this movie as "rollercoasters" of physical and emotional challenges. The film captures this feeling is masterfully recorded through the enveloping production style of the tunnel as well as the exact editing that oscillates between the camaraderie formed between the men, the growing fear that the train has a chance to pass as well as the quiet at the train station.
Prior to the movie's release, we reached out Ashtiani to learn more about the film as well as his method of making it. Take a look for a deeper look at how he pulled from such a captivating and dramatic film.
On the inspiration for the movie:
"'The Tunnel' was an adaptation of a real story. My friends' circle located in London is comprised of people who have come to the UK with a myriad of different methods and some in the most amazing and tragic ways during the past two decades. One of the topics that we discuss is the way we each arrived in the UK and some of them are directly from Calais to Kent with different means of transportation.
After hearing their tales I was compelled to tell them. Their stories can be described as a rollercoaster ride of events and emotions for me. They face challenges and the hopes they pursue their hearts set on, the determination to get moving as well as the drive. It's got hardship, physical and mental exhaustion and times when their humanity is tested. There's laughter and joy even in the most difficult of times and these are the things that inspired me to make this documentary. ."
The writing process:
"'The Tunnel' is the last scene of the feature script Daniel Metz and I wrote with Daniel Metz. The two previous acts are based on the men who are on their way to Calais learning to operate the Tunnel. The first draft of the feature script in 2015. In the years since, we have made short films and now we are writing the new version of the feature script.
The idea was not to make an anti-refugee film, but of course in the course of research and the writing of the script We spoke to refugees who were in Calais and then travelled to the UK. We read the memoirs of refugees who have written their stories, played plays, and documentaries. We also watched films that focus on the camps in Calais and the way people reside in the camps."
The production design and cinematography
"From the stage of writing there was a question about where to shoot the tunnel. We were aware of some details concerning the real EuroTunnel but as much as we were keen to capture what was unique about the tunnel, we weren't going to restrict ourselves to those particulars. After months of searching for the perfect location, we came to the conclusion that it would be best to shoot at a studio. It was a challenge to make extensions for each side of the studio.
Mike McLouglin, our production designer, has done an incredible job of re-creating a section of the tunnel within the studio and Nick Morris, our DP, worked wonders in how he shot the scene. One of the biggest challenges was creating extensions on both sides of the stage to view the tunnel as an infinite blank space. Mike extended it with the brilliant idea of placing an end mirror so when the camera looks at the other end, you can see the infinite tunnel. Mike then built the scale model of the tunnel. Then we made use of a Hornby Eurostar model train with a tiny lens that was attached to the model to record the scenes of the train as it traveled across the tunnel. It seemed bonkers, but after Static VFX then brought their expertise and magic into the post-production everything started to look and feel incredible.
We made the decision to be closer and closer to the main character as time passed through. Each time we make a cut between the station and the tunnel, it brings us closer to the main character and this helps create the feeling of being inside the tunnel as well as the exhilarating attempt to run it ."
On the editing the film:
"The editing process of this film was one of the most intriguing aspects of the whole procedure. One of the main objectives for me was to test the ways we could create tension and suspense. My co-writer Daniel Metz and I had thought of it when writing the script but I was able understand that I was able to comprehend it during the editing phase and must thank director Stuart Gazzard for this.
In the process of editing I found out what type of details we should introduce bit by bit in order to build suspense. We shot the Gare of Nord Station shots as well as the train model after the final cut. Editing shaped the film by defining the main character, making suspenseful and also the speed of the film."
On the challenge of creating the film
"I believe that, generally, making films is challenging. One of the main challenges filmmakers face is getting money to make their films. It took me several years to find producers. Anna Seifert-Speck had been leading a program at Berlinale Talent Campus where she was able to hear me talk about the project and introduced me to Anna Griffin. Together , we raised money through Lush Film Fund and the BFI Network and Lush Film Fund.
The way of shooting and action scenes is different when shooting emotional scenes. It was evident throughout the shooting process and the differences became clear to me. As I reflect back on the shoot, I realize that I used the same quantity of time on scenes of action and emotional ones that could have been shot more effectively... It would have been better to have brought the energy and passion of the escape as well as the run into the scenes through a faster and more intense time-frame and spending more time on the moments between the actors."
With hopes for the film:
"I consider that the issue that continues to worsen is the rise of Nationalism and populist political leaders in British and European government. It's the government that uses the anti refugees and xenophobe sentiments for their own advantages in politics.
By the new British law, which was passed just several months ago, teenage male refugees just like The Tunnel's characters are now being taken to Rwanda beginning from today to wait for their cases to be processed. It is my hope that viewers realize the people who go through the mud to reach the audience's beloved haven are real people with dreams for a better life that is peaceful and meaningful life. They escape their homes and nations due to war as well as religious fanaticism and the economic hardship. The best thing for them is to receive decent treatment so that they can join the society instead of always labeling them as criminals.
I hope that by viewing a handful of strangers in unfamiliar surroundings, going through a challenge due to human basic needs, audiences see the familiarity of these people and view the characters as individuals."
For filmmakers who are aspiring:
"Filmmaking is not a solo job , and it's a teamwork. Find people who inspire you to do what you're trying to achieve. Trust in their taste is essential for creative partnership. It is based on knowing the people you are working with. Spend time with them whenever you require, then take note of what they have to say Ask for them to talk about their top five films and then see if you can connect with them or not. The point is not whether they're in the same vicinity as the film you want to create or not however it will help you determine if you share a common world view and you have similar visions for the movie.
Do not let the technical aspect of your story overwhelm you and compromise your narrative because of the technical side.
Be courteous to your colleagues and make sure you are insistent!"
The next step:
"Developing and directing 'The Tunnel" feature film is the next thing I'm working on. The characters' story unfolds until the point they enter the tunnel. Co-writers, Daniel Metz, and me are currently developing the feature length script based on the lessons we have learned during the making of the short.
I've recently finished a feature-length documentary about the Iranian exiled poet Esmaeel Khoei. She passed away in London in 2021. It was largely based on VHS recordings he collected throughout his initial years in exile. The film will be out in October. ."