Staff Pick: "The Tunnel" by Arash Ashtiani

This week's Staff Pick Premiere, "The Tunnel," BAFTA-nominated filmmaker Arash Ashtiani tells the heartbreaking tale of three refugees fighting to their deaths through the Euro Tunnel that connects France and the UK.

Informed by real-life accounts, the film is unflinching in its depiction of the courage and sacrifice unjustly required from the thousands of people who seek fundamental human rights. "The Tunnel" plunges us into the third and tense act of a larger story Ashtiani is developing alongside his co-writer Daniel Metz. However, it stands on its own as a compelling and terrifying tale about the lengths three people will go to for an improved life.

Ashtiani describes his experiences he heard in preparing for the movie as "rollercoasters" of physical and emotional challenges. The film captures the feeling of this is captured by the vivid visual design of the tunnel itself as well as the exact editing that is a whirlwind of camaraderie between the characters in the tunnel, their fear growing as the train approaches in the tunnel, and the peaceful eerie silence of the train station.

 In advance of the film's launch, we spoke to Ashtiani for more information about the film as well as his method of making it. Take a look for a deeper look at how he pulled of such a compelling and adventurous film.

On the inspiration for this film

"'The Tunnel' was the result of an actual tale. My friends' circle located in London comprises people who came to the UK with a myriad of different methods as well as some in amazing and tragic ways during the past 20 years. One topic we discuss is the way we all came to the UK and some of them came from Calais to Kent by different modes of transport.

 As I heard their stories I was compelled to relay their stories. The stories they tell can be described as a rollercoaster ride of emotions and events for me. The challenges they overcome as well as the goals they set their hearts set on, the determination to get moving as well as the drive. There's mental and physical exhaustion and moments when their character is put to the test. It's got laughter and life in the darkest moment and those are the elements have inspired me to write this documentary. ."

 In the process of writing:

"'The Tunnel" is the third scene in the film script that Daniel Metz and I wrote in collaboration. The first two acts follow these men in Calais learning to operate the Tunnel. We completed the initial draft of the feature script in 2015. In the years since, we have made short films and currently are writing the new version of our feature script.

 We didn't want to make an empathetic film on refugees However in the course of research and writing of the script, we talked to the people who had been living in Calais before settling in the UK. We read about the experiences of refugees who wrote their stories, saw plays, documentaries and films that focus on the camps in Calais as well as the lives of people who reside there."

 The production design and cinematography:

"From the writing stage, we had this question regarding where we should shoot the tunnel. We knew a little bit regarding the EuroTunnel but even though we wanted to preserve its true character of the tunnel we didn't want to restrict ourselves to those specifics. After months of location hunting, we came to the conclusion that it would be more efficient to film in a studio. The challenge was how to create extensions to each part of the set.

 Mike McLouglin, our production designer, has done an incredible job of creating a new section of the tunnel in the studio. Nick Morris, our DP was awestruck by how he shot it. One of the biggest challenges was to create extensions for both sides of the set , so that viewers could see the tunnel as a vast empty black space. Mike extended it with the idea of using a mirror on each end so when the camera looks at the other end, you can see the endless tunnel. Mike constructed an exact scale model of the tunnel. Then we used an Hornby Eurostar model train with a tiny lens that was attached to the model to record footage of the train actually traveling through the tunnel. The concept was a bit bizarre at first, but when Static VFX then brought their skills and magic to the post-production everything started to make sense and look amazing.

 We decided to get closer and closer to our protagonist as time went in. Each time we make a cut from the station into the tunnel, it brings us closer to the main character , and this helps create the feeling of being inside the tunnel, and also the fearless attempts to make it run ."

 On the editing of the film:

"The edit process for this film was among the most fascinating aspects of the entire process. The most significant objectives for me was the ways we could build suspense and tension. My co-writer, Daniel Metz and I had written it into the script but I was able understand that I was able to comprehend it during the editing phase and have to acknowledge the film editor Stuart Gazzard for this.

 Through the editing process I found out what type of information we need to introduce bit by bit in order to build suspense. The film was shot by Gare of Nord Station shots along with the model train after we had our rough cut. The editing process helped shape the story by creating the main character, adding suspense, and the pace of the film."

 A look at the challenges of creating the film

 "I believe that, generally the process of making films can be challenging. One of the main problems filmmakers face is finding the money they need to create their films. It took me a couple of years to locate producers. Anna Seifert-Speck was the director of the program for Berlinale Talent Campus where she saw me present my idea and brought me in contact with Anna Griffin. Together , we raised money through the BFI Network and Lush Film Fund.

 The mindset for shooting running and action scenes is different than emotional ones. The difference was apparent during shooting and the distinction came to light to me. When I look back at my shooting experience, I realized that I used the same amount of time between scenes of action and emotional parts which could have been shot in a different way... I could have brought the energy and passion of the escape as well as the running into the scene through the fastest and most intense time-frame and spending longer on the interactions between the characters."

 On hopes for the film:

"I think what continues to get worse is the growth of Nationalism as well as populist politicians within British and European governments. The government is the one who uses racist and anti-migrant views for benefit in the political arena.

 With the introduction of the new British law, which was approved just months ago, young male refugees, just like the characters of 'The Tunnel are now being transferred to Rwanda in the near future to wait for their cases to be considered. It is my hope that viewers realize those going through hell to get to the adored refugee camp of viewers are human beings and have desires for a better future as well as a more peaceful and fulfilling life. They flee their homes and their countries due to conflict and religious fanaticism or financial hardship. They better get humane treatment in order to become part of the community rather than being labelled as criminals.

 I'm hoping that, by watching a few strange people in a strange setting, going through a challenge because of basic human needs, audiences see their familiarities and see them as individual humans."

 A word of advice to filmmakers who are aspiring:

"Filmmaking is not a solo job , and it's a teamwork. Look for people who inspire you to do what you're trying to accomplish. 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 need, and take note of what they have to say and ask them to share with you their top five films and then see if you can connect with them or not. No matter if they are close to the movie you'd like to make, but it helps you understand whether you share a common world view as well as if you share similar visions to make the film.

 Do not let the technical aspect of your story bog you down Don't let your story be compromised by focusing on the technical aspects.

  Be courteous to your coworkers and do not be demanding!"

 What's next?

 "Developing The Tunnel movie feature is my next project. The characters' story unfolds up to the moment they walk into the tunnel. Co-writers, Daniel Metz, and myself are developing the feature length script with what we learned through the production of the short.

 I've just finished a feature-length documentary about the Iranian exiled poet, Esmaeel Khoei. She died in London in 2021. It was largely based on VHS tapes that he had accumulated throughout his initial period of exile. The film will be out in October. ."