Focus on AFI Conservatory - A TI, HUMO
A young girl, who is looking to learn more about her world and herself, encounters her inner demons.
Interview with Cinematographer/Writer/Director Olivia Segarra Alcala
Congratulations! Why did you make your film?
It all started as a class exercise. I was studying the cinematography master at the American Film Institute and the idea was to explain a story visually on 35mm format so we gained more experience with film. We were given the option to direct, and I had already done it once before for a similar exercise so I though it would be a good idea and it would help me grow.
I had had a tough year coming to that point, lots of anxiety, negativity and bad thoughts. And suddenly this became an opportunity to express myself about it. The story of Nayaran, the protagonist of this piece, came to me so suddenly. Those are the only moments I dare to write, when the story just sort of comes to you and it seems to express quite well your inner processes. So I made this film because of an exercise, but it became a great cathartic experience. I got to let a lot out.
Imagine I’m a member of the audience. Why should I watch this film?
This film is about confronting our inner fears, not running away from them. I hope seeing this little piece is somehow of a liberating experience. At least that was my intention.
It's a piece where different people can interpret different things. I have always liked stories where we, the audience, become active collaborators in the unraveling and understanding of the story. Basically I like that we don't have specific answers to all of the questions raised in the narrative, I feel that creates engagement.
How do personal and universal themes work in your film?
Well, as I have already mentioned, I tried to express my overcoming of a year that was really tough for me emotionally, physically and above all mentally.
At the time I wrote the script of this piece I had already been attending therapy for a while so I felt strong enough to start thinking that things might fall into place soon enough. I felt the need to talk about the overcoming of my personal darkness - which I wanted to translate to everybody’s own darkness. We all have the power within ourselves to change our perception over the world we live in, and how we live in it.
I also wanted to have a second line of narrative, something that was there, more in the background of the story but that hopefully would translate. That is the contrast between nature, which is our protagonist's home, and the dirtiness of smoke, smog and ultimately any big city in this world. That is why, after defeating her inner fears, our protagonists decides to walk towards the dirt and everything that is wrong in this world, so she can defeat it. Because now she is strong.
How have the script and film evolved over the course of their development?
They didn't change much to be honest. As I have mentioned before, I only dare to write when something sort of comes to me instinctively. So once I wrote what I felt needed to be written, that was it. I felt the most changes came with the visual world and the smoke (which is the representation of our protagonist and the audience's negativity, fears, sadness...). It was hard to find our protagonist as I envisioned someone who could represent everyone. I have to express my gratitude for Nikki Mejia (our protagonist) who made this possible with her incredible talent.
What type of feedback have you received so far?
Most of it has been quite positive, I feel like I did not manage to communicate everything I wanted to. I feel like what I am explaining in this interview may not come through enough on the piece. Emotionally speaking. I wish I had done a better job at that but hey, we are all learning. I would love for this to be an emotional piece, for it to create some kind of cathartic experience to, not everyone because we are all different, but some of the people who may watch it.
Also we should have done a better job with the smoke, but it was a tricky one. It has had its own festival run and it went well. So overall I am quite happy with it.
Has the feedback surprised or challenged your point of view?
It has. I am a person that really believes and trusts instinctual thoughts and feelings. I have learned that maybe I do that a little bit too much. I should find a better balance by combining instinctual and actual narrative and visual language guidelines. All that we learn in terms of storytelling is there for a reason, the reason is, it works. So I should also trust that more.
What are you looking to achieve by having your film more visible on www.wearemovingstories.com?
I would love to get to know collaborators. I wrote, directed and dp'd this piece but I actually love cinematography. It was a great exercise but I would love to get to know more filmmakers and hopefully find the time and place to collaborate.
Who do you need to come on board (producers, sales agents, buyers, distributors, film festival directors, journalists) to amplify this film’s message?
If I were to think about a longer version of this piece I think I would need a director and writer probably, so we can collaborate on it. I had the best producer, Blanca Balleste, so I would stick with her.
What type of impact and/or reception would you like this film to have?
If people who watch this little piece feel something, even if they do not understand, that would be a great achievement for me. My aim is to work on projects that make people feel, reflect, analyse. If this piece did that to anyone in any form, that is what would make me the happiest.
What’s a key question that will help spark a debate or begin a conversation about this film?
Do we give enough importance to our mental health? Do we live a coherent life within the world we live in?
Would you like to add anything else?
I would love to thank everyone who made this film possible. It was an amazing experience for me and I work with amazing humans and that means the world to me.
What other projects are the key creatives developing or working on now?
Well, I am gaining experience by collaborating in narrative shoots and open to any new connections that may come my way back in Spain but soon to move back to Los Angeles. My producer is working for a few commercial production companies in LA already.
Interview: August 2021
We Are Moving Stories embraces new voices in drama, documentary, animation, TV, web series, music video, women's films, LGBTQIA+, POC, First Nations, scifi, supernatural, horror, world cinema. If you have just made a film - we'd love to hear from you. Or if you know a filmmaker - can you recommend us? More info: Carmela
A TI, HUMO
Length:
3:24
Writer/Director
OLIVIA SEGARRA’s first project as a writer. A ti humo's story just sort of came to her and she had to write it. It was just a matter of good timing that she got a chance to make it happen. Second project as a director. The first one being also a small school exercise. The experience was very much enjoyable and cathartic and also helped Olivia understand the role of directing a tiny bit better.
Producer
BLANCA BALLESTE is a well known music video producer back home in Spain, known for her work in different projects for CANADA (production company). She moved to LA to be able to jump into Fiction and into the Los Angeles industry.
Key cast:
Nikki Mejia (Nayaran)
Instagram:
https://www.instagram.com/oli_segarra/
Hashtags used:
#atihumo
More info:
Made in association with:
AFI Conservatory
Where can I watch it now?
It can be seen in my personal Vimeo page:
Or at AFI Cinematography Faculty's Vimeo: