Staff Pick: "The Tunnel" by Arash Ashtiani
In this week's Staff Pick Premiere, "The Tunnel," BAFTA-nominated filmmaker Arash Ashtiani tells the harrowing tale of three refugees battling to their deaths through the Euro Tunnel linking France with the UK.
Based on true stories The film remains unaffected in its depiction of the courage and sacrifice unjustly required from the many millions of people fighting for basic human rights. "The Tunnel" takes us to the third and tense section of a bigger story Ashtiani is writing alongside writer Daniel Metz. The short is, however, a stand alone as a powerful and terrifying tale about the lengths three people are willing to go for the sake of living a better life.
Ashtiani describes his experiences that he heard while preparing this movie in terms of "rollercoasters" of emotional and physical challenges. The film captures this emotion is beautifully captured by the vivid visual style of the tunnel and the meticulous editing which oscillates between the camaraderie formed between the men and the increasing fear that builds when the train is approaching as well as the quiet of the train station.
In advance of the film's launch, we spoke to Ashtiani to hear more about his film and method of making it. Find out more in-depth review of the process he used to pull from such a captivating and ambitious film.
On the inspiration for this film
"'The Tunnel' is the result of an actual story. My circle of friends located in London comprises people who came to the UK through a variety of ways and some in the most amazing and tragic ways during the past 20 years. One of the topics that we discuss is the way we all came to the UK and how some are from Calais to Kent by different modes of transport.
As I heard their stories and heard their stories, I was inspired to tell them. Their tales can be described as a rollercoaster ride of events and emotions for me. The obstacles they face as well as the goals they set and the desire to be active as well as the drive. It's got hardship, physical and mental exhaustion as well as moments where their character is put to the test. There's laughter and joy even in the most difficult of times and those are the elements which inspired me to create this film ."
The writing process:
"'The Tunnel" is the third act of the feature script that Daniel Metz and I wrote in collaboration. The two first acts take place following the men who are in Calais getting ready to manage the Tunnel. We completed the first draft of the feature script back in the year 2015. Then we created the short and now we are writing the second draft of the feature script.
We didn't want to make a social film about refugees, but of course in the course of research and script writing, we talked to the people who had been in Calais and then travelled to the UK. We read about the experiences of people who were refugees and wrote their stories, played plays, and documentaries. We also watched films that focus on the camps in Calais and how people live in the camps."
on the design of production and cinematography:
"From the beginning of the writing process, we had this question concerning where to take the tunnel. We had some information about the actual EuroTunnel and even though we were keen to capture the real characteristic of the tunnel, we did not want to limit ourselves to these particulars. After months of location hunting, we came to the conclusion that it was better to shoot in studios. The problem was to make extensions on each side of the stage.
Mike McLouglin, our production designer, has done an incredible job in re-creating an area of the tunnel inside the studio. Nick Morris, our DP did a fantastic job in how he shot it. One of the challenges was creating extensions on every side of the stage to view the tunnel as a vast blank space. Mike expanded it using the genius idea of putting a mirror on each end so when the camera looks at either end, it can view the infinite tunnel. Mike then built the scale model of the tunnel and we used an Hornby Eurostar model train with tiny lenses connected to it. This allowed us to capture footage of the train moving in the tunnel. The idea seemed bizarre, however after Static VFX then brought their skills and magic to the post-production, everything began to make sense and look amazing.
We decided to move closer and closer to our main character as time passed through. Each time we cut between the station and the tunnel, it brings us closer to the main character , and the tunnel helps in creating a more internal experience of the tunnel, and also the fearless attempt to run it ."
On the editing the film:
"The editing of this film was among the most fascinating aspects of the whole procedure. The most significant goals I had was to see how we can create tension and suspense. My co-writer, Daniel Metz and I had thought of it when writing the script, but I was able to understand this during the editing phase and I have to thank the film editor Stuart Gazzard for this.
Through the editing process, I learned what kind of information to introduce bit by bit in order to build suspense. We shot the Gare du Nord station shots as well as the model train after the rough cut. Editing shaped the story by creating the protagonist, adding suspense, and the pace of the film."
On the challenge of making the film:
"I consider that in general the process of making films can be challenging. One of the main problems filmmakers face is finding funds to produce their films. It took me several years to identify producers. Anna Seifert-Speck was leading the program for Berlinale Talent Campus where she was able to hear me talk about the project and I was introduced to Anna Griffin. Together we raised money from the BFI Network and Lush Film Fund.
The way of shooting or action scenes differs when shooting emotional scenes. It was evident throughout shooting and the distinction was evident for me. As I reflect back on the shoot, I realize that I spent the equal amount of time in between the action scenes and more emotional parts which could have been shot in a different way... I should bring the excitement and passion of the escape and the running into the scene by shooting them in the fastest and most intense time frame and spent more time on the moments between the actors."
In hopes of the movie:
"I think what continues to get worse is the growth of Nationalism as well as populist politicians within British and European governments. It's the government that uses racism and anti-migrant sentiments for their own benefit in the political arena.
With the introduction of the new British law, which was approved just months ago, young male refugees just like those in 'The Tunnel in the Tunnel' will be sent to Rwanda in the near future in order to await the cases of refugees to be dealt with. I hope the audience understands those who have to go through hell to get to the beloved refuge of the viewers are human beings and have desires for a better future, a peaceful and meaningful life. They are forced to flee their homes or their countries due to conflict, religious fanaticism, or economic hardship. It is essential that they receive humane treatment so that they can become part of the community instead of always labeling them as criminals.
I'm hoping that, by looking at a couple of strange characters in a strange setting and facing challenges due to human basic desires, the audience will recognize their familiarities and see them as individual humans."
On advice for filmmakers who want to make it:
"Filmmaking is not a one-man task and requires collaborative work. Find people who inspire you to do what you're trying to accomplish. Trust in their taste is the key to a successful partnership. Trust comes from knowing people. Spend time with them whenever you require, then listen to what they say, ask them to discuss with you their five top movi,es and determine if you connect to them in any way or not. The point is not whether they're in the same vicinity as your film that you wish to make, but it helps you to understand if you share a common world view as well as if you share an identical vision to make the film.
Don't let the technical aspects of your story take over your imagination and compromise your narrative by focusing on the technical aspects.
Respect your colleagues and Be insistent!"
On what's next:
"Developing The Tunnel" feature film is the next thing I'm working on. The story of the characters up to the moment they enter the tunnel. Co-writers, Daniel Metz, and myself are developing the feature length script with what we learned during the making of the short.
I've just finished an feature-length documentary on the Iranian exiled poet, Esmaeel Khoei. He passed away in London in 2021. The film is mostly based on the VHS tapes that he had accumulated throughout his initial days of exile. The release date is October. ."