Please tell us about the projects you worked on before making ‘Hamdardi’. How did you start, and how did you learn to make films?
The first short film I made was called “Falsified”, inspired by Spain's stolen baby scandal. I assumed everyone knew about it since I grew up in Spain, but I quickly realized that many people were unfamiliar with the events. Following that, I created a few more short films and micro shorts.
I learned filmmaking by doing it. I didn’t attend film school; I started as an actor, creating my own films and content. Writing scripts helped me understand storytelling and structure. A lot of it was self-taught—reading books on storytelling, studying scripts, and refining my understanding of plot, character arcs, and narrative themes.
Ultimately, experience was the best teacher. Over the last decade, I've honed my craft through each project, culminating now, with “Hamdardi”. Working with collaborators who’ve grown alongside me has allowed us to execute more ambitious projects like this one.
Tell us about ‘Hamdardi’. How do you describe it?
“Hamdardi” is a short film inspired by the U.S. travel ban. It follows a bereaved immigration officer struggling with his role in the system after encountering a young Iranian brother and sister detained during the ban.
This story is very personal for me, as the travel ban directly impacted my family. I wrote “Hamdardi” to humanize those affected, showing they aren’t just statistics but real people with dreams and aspirations.
At its core, “Hamdardi” is a story about family, set against the backdrop of the travel ban. It explores the idea of our moral compass—how much we let external systems and pressures dictate our actions until we reclaim our personal sense of right and wrong.
Please tell us about your favorite filmmakers.
It’s tough to pick a favorite. Of course, I admire the big names like Scorsese, Spielberg, Nolan, and Fincher—they’re major influences. But I’m also drawn to filmmakers who spark curiosity through their storytelling, whether they’re well-known or not.
I appreciate films that challenge the audience to think rather than spoon-feed answers. Filmmakers who leave room for interpretation and allow viewers to fill in the blanks are especially inspiring. Alfred Hitchcock’s famous example about the bomb under the table is a perfect illustration of how much tension can be created by what the audience knows versus what the characters know. Filmmakers who master this kind of engagement through visuals and story are the ones I admire most.
If you were given a good budget, what would be your ideal project?
It’s not so much about the size of the budget as it is about the right story with the appropriate resources to bring it to life. I don’t think there’s an ‘ideal’ project—it’s more about where you’re at in your journey as a filmmaker.
For me, the “ideal” project is always the one I’m working on at the moment. Filmmaking is a long process; features can take years to come to fruition. And while a big budget can help, it’s ultimately the strength of the story and the team that matter most. Some of the best films don’t have enormous budgets—they succeed because of their compelling narratives and the skill of those involved.
Describe how you would ensure that production is on schedule. What steps would you take?
There are always unforeseen challenges, but having a capable team is key. For “Hamdardi”, we focused heavily on preparation—ensuring everything was set up as much as possible before shooting.
It’s important to have strong heads of department who are not only skilled but trustworthy. Filmmaking is a collaborative effort, and it’s essential to have a team that communicates well and can solve problems on the fly. Flexibility and the ability to pivot when things don’t go as planned are crucial to keeping production on schedule.
What was the hardest part of making ‘Hamdardi’?
I wouldn’t say anything was ‘hard’ because making a film is a privilege, but there were certainly challenges. “Hamdardi” was an ambitious project—creating the world of a bustling American airport while filming in the UK was one of the biggest challenges.
We had multiple characters, key protagonists, and antagonists, each with their own importance, and we had to make sure everything felt authentic, from the costumes to the set design. Attention to detail was critical to ensure the audience believed in the setting. It required a lot of meticulous planning, but the team pulled together to execute it successfully.
If possible, tell us about your next work. What plans do you have for your future work?
Right now, we're focused on pushing “Hamdardi” during our Oscar campaign, with the film eligible for the 2025 Oscars. Moving forward, my ambition is to transition from short films to feature films.
I’ve already written a script for a feature based on my first short film, “Falsified”, about Spain’s stolen baby scandal. It follows a bereaved man searching for his long-lost son who is convinced he's finally found him. The story is about his journey across Spain, meeting various people as he tries to prove they’re biologically related.
That’s one project on the horizon, but I’m open to other ideas as well. You never know what could come next.
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