Directed by LEILA BARTELL
A visceral exploration of one’s consciousness, this film dives into the head of a timeless heroine. We witness the torment caused by a contradiction between the mind and the soul, and the formation of her infinite being. Inspired by the idea of transcending one’s inner limitations and written with Laura Bailey in mind, the character in our film has the intensity and strong presence that Laura naturally possesses, and this is echoed powerfully in her performance.
READ OUR INTERVIEW WITH LEILA
Tell us a bit about yourself and your filmmaking background.
I am a London-based painter and director. I come from a painting background and my work is influenced by the various cultures I experienced growing up in different parts of the world. My films and paintings predominantly explore existential states or social issues and their underlying dynamics. My stories often revolve around empowerment, personal evolution as well as redemption. I often combine other art forms such as dance or abstract music with storytelling.
What inspiration and influences made you want to create ĀRKA?
Ārka was written with Laura Bailey in mind. She is a friend, but also someone I admire on many levels and really wanted to collaborate with her creatively for some time. I’m generally fascinated with the idea of telling a story using very few words, if any. That’s probably the reason I’m inclined to make films where movement, music and sound are a hugely important element of the narrative. From the get go I was drawn to the idea of creating an internal psychological drama, a universal one, conveyed through a heroine that is not bound by space or time.
What obstacles did you overcome while in the making of this film?
The biggest obstacle was the global pandemic, which meant a lot of uncertainty of course. Internally I, as a director, had to make sure my drive and passion were at their peak to keep everyone fully engaged in the midst of ever changing circumstances. In the end, with the support of an incredible cast and crew, things worked out really well and we managed to shoot the film within a tiny window between lockdowns. We felt incredibly lucky to be able to pull it off.
Any tips or tricks for micro-budget filmmaking?
I did my very first project, a drama short called Idira on a micro budget. I think not much beyond the obvious: shoot in as few locations as possible - ideally one; if you can, minimize the crew and number of days you need to shoot it. Also, I believe finding the perfect location can save a lot of worries in the art department. Ensure you work with a savvy and passionate producer who is fully aware of how best to achieve results with next to no money.
Tell us about the journey of getting your film to audiences.
We had a rough idea where we wanted to show it, even in the pre-production stage. Once the film was completed, we started identifying relevant avenues. Ārka premiered on Violet Book in July, then was shown on Soho House Notes in August, Nowness and Laboratory Arts Collective in September. We also had some arts platforms and festivals approach us directly, after seeing it and wanted to show it. The response so far has been amazing, and I’m truly grateful for that.
What are you working on now?
As a painter I’m in the process of launching my first NFT collection on OpenSea and in terms of directing, I’m writing a treatment for a sports brand that focuses on inclusivity and reading a feature film script I’ve been sent.
Any film recommendations that we should add to our watchlist?
Yes, two short films I love. Lunch date by Adam Davidson. It’s a beautiful short piece tackling race and class in America. The film has no dialogue and it really encouraged me to examine my own assumptions. And Bus 44 by Dayyan Eng, which is another short film that really stayed with me. I remember just sitting there looking at the screen as there was so much to process. I watched it at least a dozen times. It reminded me of how people can be vile, good and completely on the fence - often due to fear.