BFI FUTURE FILM FESTIVAL 2025
Shuqi Li
OVER THERE
FESTIVAL SCREENING
Friday 21 February 2025 15:00
FEB, 17, 2025
Over There follows a jobless woman from an ordinary family who, in a desperate attempt to survive, sells her body and uploads her consciousness to a digital world.
Hi Shuqi, how does it feel to be premiering your debut short film Over There at the BFI Future Film Festival this month?
I’m absolutely thrilled and incredibly grateful. Having my short film screened at the BFI Future Film Festival means a lot to me. BFI is one of the most prestigious film institutions in the UK, so being recognised in this way is both an honour and a great encouragement. It gives me even more confidence to keep telling my stories.
What did it mean to you to get this type of recognition for your film?
It’s a huge motivation. As a new director just starting out in the industry, this recognition reassures me that my stories are worth telling and encourages me to continue exploring filmmaking.
How important are festivals like BFI Future Film Festival, in creating a platform for short films and filmmakers?
They play a vital role. For many young filmmakers, festivals like this are their first real opportunity to showcase their work and gain industry exposure. Increased visibility can lead to future collaborations and open doors that might otherwise remain closed. For short film creators, these festivals are not just about screenings, they are a source of inspiration, offering validation and motivation to keep pushing forward.
Short films are a vital medium in the film industry, yet there are few opportunities for the public, outside of festivals, to see them. What more can be done to make short films more visible and accessible to the wider cinema audiences?
Online platforms are key to increasing accessibility. In today’s fast-paced world, audiences are drawn to shorter formats and more convenient viewing experiences, making digital distribution a natural fit for short films. Collaborations with streaming services, social media, and short-form video platforms can make it easier for audiences to discover them. Additionally, NFT projects, crowdfunding, and subscription-based models could offer more sustainable financial support for short film creators, helping the industry thrive.
Can you tell me a little bit about how Over There came about? What was the inspiration being your debut narrative short film?
Over There was my graduation project at RCA. The initial inspiration came from two questions I raised on a seminar presentation: As AI continues to develop, what will the relationship between humans and nature become? Will we achieve fairness when the physical gap narrows? If not, what will become the new standard for dividing classes.
These questions formed the foundation of my story. Later, an image came to me, a red house from the eye test chart, with a single line of dialogue: “This is my new house. To move here, I sold my body, my organs, and all my blood.” That moment shaped the film’s core themes and visual direction.
What were the biggest challenges you faced making Over There, and what was the message you wanted to convey with this film?
The biggest challenge was writing the script and refining the pacing. I had to find a way to immerse the audience in the world I was building within just a few minutes while ensuring they could connect emotionally with the story.
If I had to summarise the film in one sentence, I’d say: “Even in the void, a flicker of humanity remains.”
The film explores the essence of what it means to be human. Our thoughts and identities are shaped by genetics, power structures, and economic forces. If all these external factors define us, can we still claim to be truly ourselves? And yet, despite selling her body, erasing her memories, and removing her thoughts, the protagonist still longs for the warmth of a childhood embrace. Through this film, I wanted to explore the complexity of human nature—how even in a seemingly nihilistic world, a faint but genuine spark of humanity endures.
How close did you like to stick to you text/script, did you allow yourself much flexibility once you started bringing Over There to life?
I kept my creative process quite fluid and made continuous adjustments right up until the final version was completed.
Before full production, I created a 90-second test short, which revealed several key issues—such as the pacing being too fast for audiences to absorb the narrative, the visuals being too closely aligned with the narration, which made the film feel repetitive, and the AI-generated voice lacking the intended emotional effect. These insights allowed me to refine the final film.
One particularly interesting script change came from a conversation during an RCA seminar. In the test version, I had included Chinese subtitles, initially just to get feedback from my Chinese friends. But when a tutor asked, “Why did you add subtitles? Do they serve a deeper narrative purpose?” it sparked an idea. Language is a core part of identity, representing one’s background and cultural ties. Losing one’s native language can signify a deeper sense of disconnection from one’s roots. This led me to incorporate the concept of “erasing one’s mother tongue” as a central element in the film’s climax.
What was your time at the RCA like?
My time at RCA was unforgettable and deeply enriching. I met incredible mentors and peers who broadened my perspective and showed me the limitless possibilities of creative expression. RCA also strengthened my critical thinking and independence, both of which will shape my future work.
What was the most valuable lesson you discovered about yourself as a filmmaker during the making of Over There?
That storytelling is what truly matters, form is simply a means of expression. As long as the story resonates, the way it’s told can take endless shapes.
How much does your background in fashion help to inform you style and approach to making Over There?
My creative background is quite diverse—my undergraduate studies were in fashion design, and my master’s was in animation. Filmmaking was a completely new medium for me, but I quickly realised that regardless of the discipline, the core principles of creation remain the same. Form is just a language; what truly matters is the story you’re telling. My fashion training taught me to pay close attention to detail and to develop an initial idea into a fully realised concept—an approach that has greatly influenced my filmmaking process.
"I believe the essence of creation is universal; the medium is just a tool, but at its heart, it’s all about how you tell a story."
Have you always had a passion for filmmaking?
Over There is my first film, and before this, I hadn’t explored filmmaking in a formal way. But I’ve always been passionate about storytelling—whether through illustration, fashion design, or other creative mediums. I believe the essence of creation is universal; the medium is just a tool, but at its heart, it’s all about how you tell a story.
Moving forward, what themes and subjects are you looking to explore with future films?
I enjoy starting with a seemingly absurd or surreal idea from everyday life and then digging deeper into its underlying meaning. I hope my future work will continue to explore big societal questions through the lens of small, intimate details.
Is there any advice you wish you had been given when you started your filmmaking journey?
Creativity can feel isolating at times, but when you open up and share, you often receive unexpected insights and support.
And finally, what message would you want your audiences to take away from Over There?
That maybe, just maybe, a lot of things aren’t as important as we think they are. And realising that might just make life a little lighter.