Staff Choice: "The Tunnel" by Arash Ashtiani

This week's Staff Pick Premiere, "The Tunnel," BAFTA-nominated filmmaker Arash Ashtiani tells the harrowing tale of three refugees battling for their lives on the Euro Tunnel connecting France with the UK.

Based on real-life experiences, the film remains unaffected in the way it depicts the courage and risk that is unjustly expected from thousands of individuals fighting for fundamental human rights. "The Tunnel" plunges us into the third, tense and emotional act of a larger story Ashtiani's his co-writer Daniel Metz. But, it is a stand-alone work by it as a thrilling and chilling story of how far three individuals can go to find the promise of a better life.

Ashtiani recounts his experience he heard in preparing for the documentary, describing them as "rollercoasters" that involve physical as well as emotional tension. The sensation of these is captured by the enveloping design of the tunnel as well as the precise editing that oscillates between the camaraderie between people in the tunnel their anxiety growing as they realize that the train has an opportunity to go by in the tunnel, as well as the calm at the train station.

     Before the movie's premiere We reached out to Ashtiani to get more details about the movie as well as the process he followed. Take a look for an in-depth analysis of the process he used to come up with the idea off the captivating and dramatic film.

     as the primary origins of the film:    

"'The Tunnel' is the product of an actual account. My circle of close friends who hail from London includes people who have come to the UK through a variety of ways and in some of the most brutal and heroic methods over the last two decades. We discuss how each of us came to the UK and the way some of us came straight coming from Calais to Kent by different means of travel.

     As I heard their stories and listened to their tales that I was in awe of their stories and was inspired to share them. The stories they tell can be described as being a roller-coaster ride of emotional and physical events for me. They face challenges and the hopes they pursue their hearts determined to move forward and the determination to achieve their goals. There's mental and physical exhaustion, and moments when their humanity is put to the test. There's laughter and joy in the darkest moment and these are the very things have been the inspiration for me to make this film . "

On the writing process:

"'The Tunnel"is the third and final act of the script for the film that Daniel Metz and I wrote together with Daniel Metz. The previous two acts were inspired by the characters who have been in Calais getting ready to manage the Tunnel. First draft of the feature script was completed in the year 2015. After that, we wrote the script and we are now writing the second version of the feature script.

     We did not want to create an anti-refugee movie. However, while researching and making, we spoke to people who lived in Calais and reached the UK. We read their memoirs, read about refugees who have written their tales, and saw plays, documentaries and films on the camps in Calais in addition to the stories of the people living there. "

 The production design and cinematography

"From the beginning of our process of writing, we wanted to know where to place the tunnel for shooting. We knew a few specifics about the EuroTunnel and although we wanted to document what was unique about this tunnel, we didn't want restrict ourselves to these specifics. After months of searching for locations We came to our conclusion that it would be more efficient to shoot in the studio. It was a challenge to make extensions that fit on either part of the stage.

     Mike McLouglin, our production designer, did a fantastic job in re-creating an area that was a tunnel within the studio. Nick Morris, our DP was amazed by the way he captured the entire scene. One of the biggest challenges was to design extensions for each side of the stage, so that viewers could see the tunnel as an endless black space. Mike added an extension using the clever idea of placing an end mirror so that, whenever you glance at one end, it can view the endless tunnel. Mike created the scale model of the tunnel, and we used an Hornby Eurostar model train with a tiny lens connected to it. This allowed us to capture video of the train moving through the tunnel. It was a bit bizarre at first, but after Static VFX then brought their experience and expertise into post-production, it began to look and feel fantastic.

     We decided to make our way further and farther away from our principal character over time as the years went through. Each time we make a cut between the station and the tunnel, we are closer to the main persona, which helps create the feeling of being intimate to the tunnel and the fearless attempt to run it . "

When making edits to the movie:

"The editing process was one of the most interesting aspects of the process. One of the primary goals I had was for ways to increase tension and suspense. Co-writer Daniel Metz and I had planned it in the script but I understood this when writing the script. I want to acknowledge editor Stuart Gazzard for this.

     In the process of editing, I discovered what details to slowly add to the film to increase tension. The film was shot using Gare of footage from Nord Station as well as models of trains after the final cut was made. Editing shaped the movie by clarifying the protagonist, creating suspenseful and also how the film moves. "

 The problem in creating the film

     "I think that generally making films isn't easy. One of the main problems filmmakers face is locating the money they need to create their film. It took me two years to find producers. Anna Seifert-Speck was director of the program for Berlinale Talent Campus where she witnessed me present my idea and put me in touch with Anna Griffin. Together , we raised funds via The BFI Network and Lush Film Fund.

     The approach to shooting running or action sequences differs from emotional scenes. This became more evident during shooting , and this distinction came to the forefront for me. In reflecting on my shooting experience, I realized that I had spent the equal amount of time between action scenes and scenes with more emotion that could have been shot more efficiently... I need to bring the thrill and passion of the escape and the sequences into these scenes by shooting them in the fastest and longest duration and making sure to record moments between characters. "

With the hope of the film:

"I consider that the reason things continue to get worse is the growth of Nationalism and populist political leaders in British and European administrations. It's the government that uses an anti-migrant and xenophobic views for advantages in politics.

     As per the current British law that was adopted just a few months ago, teenagers refugees, just like the characters from "The Tunnel in the tunnel", will be sent to Rwanda beginning from today in order for their case to be considered. My hope is that viewers realize those going through the filthy streets to arrive at the beloved refugee camp of viewers are human beings and are looking forward to a better future, living a meaningful and peaceful existence. They leave their home and country due to religious persecution and war or economic hardships. What they need is to get decent treatment so that they can be part of the community rather than being labelled as criminals.

I would like to believe that when looking at a couple of strange characters in a strange setting or confronting a challenge due to human basic desires, the audience will recognize their commonality and recognize them as human beings. "

 A few words of advice for filmmakers who want to make it:

"Filmmaking isn't a single-person job , and it's a collaborative job. Look for people who motivate you to achieve the things you want to do. The trust they have in their tastes is crucial to a creative partnership. It is based on knowing the people you are working with. Spend time with them for the time you believe you require, then listen to what they say, ask for them to talk about their favorite films. Then, determine whether you can relate to the people they mention or not. Whatever the case, they're close to the film you want to make, but it helps you understand the degree to which your worlds intersect and also if you have the same goals for your film.

     Don't allow the technical aspect of your story overwhelm you, don't compromise your story by focusing on the technical elements.    

     Respect your colleagues and don't be exigent! "

What's next?

     "Developing The Tunnel movie feature is my next endeavor. The tale of the characters up to the moment they step into the tunnel. My co-writer, Daniel Metz, and myself are working on a feature-length script that is basing it on the lessons that we learned from making the short.

     I'm just finishing a film of a feature length about the Iranian poet who was exiled Esmaeel Khoei. He passed to London at the age of 2021. The film is built largely on VHS recordings that Khoei had collected throughout his initial period of exile. Its release date is set for October. . "

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