BFI FUTURE FILM FESTIVAL 2025
Vladislav Motorichev
how the world is going to end
FESTIVAL SCREENING
Sat 22 February 2025 15:00
FEB, 17, 2025
Members of the UK public speculate about the world’s end, and if there is anything we can do to stop it.
Hi Vlad, how does it feel to be at the BFI Future Film Festival with your documentary short How The World is Going to End?
This feels like an incredible part of a great big journey. Having my film at the BFI FFF means a lot, and gives me confidence that I am on the right path in my artistic approach at the moment.
How The World is Going to End has already had an amazing festival run. What has it meant to you to get this type of recognition for your graduation short?
It brings tremendous motivation and a desire to repeat the success or even improve on it. How The World Is Going To End was screened at the Norwich Film Festival, London Breeze Film Festival, and some more! Moreover, we haven’t received all the decisions back yet! Nevertheless, it is not only a festival success but also an artistic process. This work lives in me even after its completion. I want to look deeper into the theme of the end of the world, perhaps to ask new people in the more distanced places where no cars go. A small remark - this is my independent project from the university, although made in co-operation with some students; for my graduation, I plan to make another visual work inspired by Derek Jarman, a renowned British filmmaker, artist, and activist. It is going to be a biographical stage and video production dedicated to him and his creative journey.
How important are festivals like BFI Future Film Festival, in creating a platform for short films and filmmakers?
This clearly brings great social and cultural value. We live in a time when cinema is flourishing as a lucrative industry, but sometimes, because of this, the artistic side of a film is often overlooked. Festivals like the BFI FFF allow people to look at a film as a work of art, and moreover, many films find life and meaning through the recognition of such festivals. It is imperative to see the audience's live reaction to the work done.
Short films are a vital medium in the film industry, yet there are few opportunities for the public, outside of festivals, to see them. It helps to make short films more visible and accessible to the broader cinema audiences.
Can you tell me a little bit about how How The World is Going to End came about? What was the inspiration behind your documentary short?
How The World Is Going To End is my artistic statement and protest against the horror and endless violence that is happening in the world. Moreover, shocking violence - I could not expect that in the 21st century such bloody and merciless wars are possible, where tens of thousands of people have lost their homes and loved ones, that the world will once again prioritise the “principle of the strong” over the principle of justice and humanity, not to mention that the talk of a possible nuclear war in the media over the last three years is not part of the gutter press, but a real threat. It was important to me that this artwork had a documentary basis, that it was not a subjective statement driven by personal experience and perception, but that the voices of many people emerged into a unified monologue, sharing each individual's common anxieties and hopes.
What were the biggest challenges you faced making How The World is Going to End, and what was the message you wanted to convey with this film?
The main challenges of this project were time, money, and effort. We wanted to film in Scotland and the Lake District, but we couldn't fit it into our budget. Nevertheless, we shot on 16mm film for 12 days in different locations in the UK – London, Essex, Sussex, Dorset, and Wales. We always had a team of at least five people and needed to find free days, as it was a passion project for everyone. We made it come to life thanks to the producers of this documentary – Aryna Dabraliubava and Sidal Ergüder.
The budget for equipment was insufficient; as a result, 9 days out of 12, we shot on a decent French camera, an Aaton XTR. Still, for the remaining days, we had to use a version of the 16mm film camera Krasnogorsk-3, which I jokingly call a "modernised Frankenstein" – its original mount and film gate were homemade modified. While this didn't affect the image quality, it made the shooting process critically more difficult.
As for the message of the documentary – I would like the viewers to feel and formulate it themselves. This is a rather personal question, and I believe my message is clearly and easily seen and heard in the film.
There are a lot of questions within How The World is Going to End and with all the uncertainly and division that societies are facing all over the world, do you think you found any answers to the direction we’re headed. Or is there really solace to be found in the unknowing?
I don’t believe there is a definitive answer to this question. In fact, the absence of an answer may be more powerful than a clear one - it provokes thought, sparks reflection, and, most importantly, leaves room for hope. Throughout history, humanity has been pulled in two opposing directions. Some have moved toward the light, striving to improve the lives of others, while others have descended into darkness, waging wars, inciting religious and racial conflicts, and standing in the way of progress. What does that say about our world when even Giordano Bruno was burned alive, and Mandela was imprisoned for years? As long as this struggle continues, with both forces pulling at the rope from opposite ends, I feel that the end is not yet near.
What was the most valuable lesson you discovered about yourself as a filmmaker during the making of How The World is Going to End?
I learned that I still have a massive room for growth - both artistically and in terms of craftsmanship. There were moments where I felt certain things could have been better if I had more experience or deeper knowledge gained through hands-on practice.
At the same time, I learned that I am surrounded by incredibly kind and supportive people. Throughout the entire production, we worked in an environment that was not only highly committed but also deeply friendly and encouraging. Some people, like Aryna, were involved almost from the very seed of the idea, organising and being present on every single day of shooting, all the way to submitting the film to festivals.
I believe that one of the most revealing things about yourself is realising who you are surrounded by.
Have you always had a passion for filmmaking?
I wouldn't say that. I've always loved film, and any form of art, but had no hope of participating in the practical part of the craft. I would say it all happened against all odds.
What would you say have been the biggest changes to your filmmaking style since your debut short The Ode on Cure?
The main change is a slightly better understanding of film as an art form. When I shot The Ode On Cure - I only had a theatrical background, and it was challenging to switch from one art form to another without knowing the game's rules. From then on, I delved deeper into the technical side of camera and image, colour theory and cinematography principles. When I was shooting Ode, I didn't consider film stock as the relevant and necessary medium. Now, it's the opposite - I don't want to work with digital images, and I'm committed to analogue only.
What was your time like at the Met Film School and how much does your background in theatre and cinematography inform your filmmaking approach?
I'm still studying there and finishing up my course this summer. It's been an interesting time, but I found it difficult to immerse myself after the theatre environment in film school. As I said before, film is an art form, and the very structure of education implies film is an industry with its own standards and forms. I'm not against the standardisation of safety or technical areas of film, but of course, I am strongly against the standardisation of genres, stories and approaches to directing and cinematography. Theatre helps to always remember - money is important and so is the success of the creative work, but not more important than the creative process and the art itself.
Moving forward, what themes and subjects are you looking to explore with future films?
I like the theme of space exploration. If humankind does not destroy itself, this idea will soon grow from the sci-fi genre into a documentary and fiction about our time. Perhaps this feeling is motivated by subconscious escapism; I haven't fully realised it yet. I also often think about and consider the idea of making a biopic film about the German director, playwright and poet Bertolt Brecht. I want to explore his life and creative experience and how he was able to use art and theatre as a form of social and political activism against dictatorship.
"If I had to tell myself something in the past, it would be to trust myself and listen to my inner voice, not ignore the advice of others, but take it thoughtfully and with caution."
Who are some of the filmmakers that have inspired you?
Francois Truffaut, Charlie Kaufman, Florian Henckel von Donnersmarck, Pietro Marcello, Giuseppe Tornatore, Peter Bogdanovic. These are the authors who serve as teachers for me and, at the same time, as my most enjoyable leisure time. What they do is an embodiment of the true idea of cinema, and their visual principles and storytelling style are close to my heart. I just feel very good after watching their films.
Is there any advice you wish you had been given when you started your filmmaking journey?
Of course. I would like to make it clear that I still hope and perceive that my journey is just beginning and that the end, or even the middle, is still far away. Even now, I would be glad to hear advice from a more experienced filmmaker. If I had to tell myself something in the past, it would be to trust myself and listen to my inner voice, not ignore the advice of others, but take it thoughtfully and with caution.
And finally, what message would you want your audiences to take away from How The World is Going to End?
I still don't want to verbalise and describe the message in spoken or written words. A film should be a film in itself, regardless of the external commentary of the creators, to convey its essence and feelings. So far, I don't want to neglect this principle - let the artwork speak for me, not me for the artwork.