#SHORTVIEW: “The House”, Yana Titova


After yet another night of heavy partying, Victor finds himself trapped by his own actions, and sees the truth regarding himself through the eyes of the past.


> The protagonist in your movie suffers a kind of unwanted series of “flashbacks”. Why did you decide to use this technique?

For me, it’s very important to note that the protagonist didn’t really think of going back to this place: he kind of arrives there accidentally, to this place that he hadn’t gone back to since being a teenager. Once he went out of that house, he never turned back, even though his life turned rough, because that was his own choice – so to go back, I think, would be kind of becoming weak, which is something that this guy very much does not want to happen. So he kind of forgot about this place altogether.

I’ve gone through similar processes myself: I’ve not completely forgotten my past, but there are some stories that I’ve lived through which I don’t particularly like, so I’ve chosen to “erase” them from my own memory. And I think that that’s something that many people try to do.

> Do you believe in giving up things in order to advance?

I believe in making decisions: I think that the decisions that you take, at different points in your life, end up making you who you are. In the film, you can see how this guy is re-visiting some of those key-points, these moments in which he made the decisions that made him who he is today. For him, to go back and see this is a realization of what made him be like that.

Now, he’s all about, you know, money and power, and all those mafia things, and it’s in these moments that he slowly and progressively became like that, and chose to lose all emotions along, by that want of proving himself to other people, or to himself, or whatever.

> If people had this possibility of returning to their past, do you think they would do it?

I don’t know, I’m not sure, haha. I think that a lot of people might not want to do it, because they might be afraid of what they’d see, in the same way that people wouldn’t want to see, like, 10 years in the future, how they’ll be by then, or something like that.

> Speaking about the future, what is your perspective on the current scene of Bulgarian short films, and where do you see it going?

I think we’re getting better every year, since a lot of movies are being produced, and Bulgarian cinema as a whole -not only short films- is kind of reinventing itself at the moment. I think that is something that is also being reflected in the films themselves, and you can see how the competition is increasing and getting more fierce, with a lot of different films and ideas. So I think it’s going in a great direction, and it’s only going to keep improving.

About short films specifically, some years ago, people didn’t even know what they where: when I spoke to people about them, about the idea of a short film, they were all like “is that a real film?” – so I had to explain that yeah, it is, but shorter, haha. But now more and more people know about them, they are aware of this, and they like it, even to the extent of being curious about the things that could be done in this medium, and the stories you could tell. People are asking for more, so that’s what we’ll give them.

At the point of the interview, Yana was working on his first feature film, based on a true story, about a woman fighting against a heroin addiction.


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