Would you like to talk about the short films you shot while you were a cinema
student?

All my short films so far have featured elements of magical realism or fantasy—whether it’s TV characters confronting you from the screen, catching lice in your girlfriend’s hair, or women laying eggs. I tend to dive into my most bizarre ideas, and I’m grateful to have an outlet for them, as well as the support of those around me on this unconventional storytelling journey. Writing, directing, and editing my films have been invaluable experiences, not only for honing my craft but also for the meaningful human connections I’ve made along the way.

What kind of experience did the films you shot give you in terms of directing?

Directing actors was initially the most intimidating part for me. Having experience as an actor on other projects helped me realize that actors seek trust from their directors, which is built through communication. Instead of feeling like I needed to have all the answers—like in an exam—I learned to approach directing as a collaboration. A particularly positive experience was working on my final university film, “The Egg”, where I had the chance to rehearse with actors on location before shooting. This made the process less stressful and allowed us to be more open. Before film school, I hadn’t fully grasped that directing extends beyond working with actors. It involves making decisions across every department and ensuring the entire team is aligned with the creative vision. I’m so excited to explore this even further in my upcoming projects.

In your opinion, what are the most important features that make a short film
successful?

I can’t yet speak to the commercial success of short films from personal experience (though one of mine has been selected for three festivals so far, which I’m very happy about). One thing I can say is that the audience’s response was incredibly positive. It’s always a pleasure to hear people share their interpretations and explore what the film meant to them.

One particularly encouraging piece of advice came from a workshop I attended with Argentine director Marco Berger. He said, “Make the films you want to see, because people are similar. If you like something, chances are others will too.”

How to edit a good movie? What is done before editing?

It’s no secret to filmmakers that editing begins before shooting. Understanding editing helps immensely with blocking and shot choices, but doesn’t fully protect you from post-production challenges. For example, in my short film “Lice”, a lack of coverage forced me to find a creative solution. I used fades to black between shots, which not only smoothed the edit but also reinforced the film’s dark, cave-like setting.

What would you like to say about the cinema industry when you evaluate it in
terms of popular culture today? Is the most popular the best movie?

As a film graduate, I’ve been exposed to a wide range of non-mainstream films. Being from Europe and having international friends also influences my viewing habits, so I don’t always focus on the most popular films. That said, I find incredible films in both mainstream and indie cinema, just as I sometimes come across films—popular or obscure—that don’t resonate with me.

What are the shortcomings you see in the cinema industry and movies today?
Do you think cinema has become monopolized?

Like many, I value creative freedom in storytelling. However, I’ve noticed that many mainstream films follow a checklist of politically correct themes and characters. While these topics are important, they should feel organic to the story rather than forced and I believe that a genuine, natural approach leads to meaningful art. That said, I understand that funding often dictates creative choices. One movement I’m especially excited about is the push for greener filmmaking practices. As a nature lover, I was disheartened to learn about the film industry’s environmental impact. While the industry still has a long way to go, it’s encouraging to see more productions adopting sustainable practices. I fully support this movement and strive to make every project I work on as eco-friendly as possible. I believe embracing green filmmaking is becoming essential for staying relevant in the industry. I’m also very excited about the emerging green storytelling movement and eager to see what stories grow from it.