It all initially began with the idea of shooting a short film that I could present in my application for the Cinematography Course at the AFI Conservatory. Early in the pre–production I realised that I didn't want to make yet another conventional short film, since the ideas and themes I wanted to share required quite a bigger scope. As much as I love movies, I was never really fond of short films. I've always perceived most of them rather as anecdotes or sketches than self–sufficient works of fiction. I wanted to go about it differently, and in the process, I came up with an idea of a puzzle film with a few missing pieces: just like in real life, you never get all the information there is, as if you found yourself in the midst of the action, sort of voyeuristic experience, but you're still able to connect, empathise and draw conclusions based on the pieces that are present.

A story of a loving couple's last night together. Or so it seems... A story of a brutal murder committed on a daily basis — a murder of dreams, aspirations, and hope. A story of life, in which past, present, and future coexist — and fight with each other. A story of mundane obscurity of the everyday life, that imperceptibly destroys even the strongest desire to create, to change, to evolve. There were quite a few themes I wanted to explore in the movie, quite a few things to try out, such as the way our memory works — when the past feels more like a dream you once had than a reality that was once present. Or how life often tends to push you in a direction more acceptable by others rather than the one that brings you happiness and resolution. And how often people find excuses and reasons not to pursue their dreams. One other key subject for me was the Nature itself, and how it influences, coordinates, and informs our lives, no matter how hard we try to hide from it our concrete jungles.

I realised early on in the process that implementing all the ideas and achieving the results I aimed for would have been quite impossible given the budget limitations of the movie. That is, of course, unless I assumed multiple roles in the production and did the majority of the work myself. It was more of a necessity than my original intention, but as a result, I gained a lot of hands–on experience and insight into most aspects of filmmaking — from the initial script brief to the final DCP, with everything in–between, including Cinematography, Editing, Scoring, Sound Mixing, CGI, Props and Poster Art design. All of that was accomplished with the invaluable help of my two close friends, and I really hope that this experience and the end result, if nothing else, could be inspirational to other people. After all, that's probably the ultimate goal of any artist.