1. What motivated you to explore the theme of sleep paralysis in your film "I'm Not Asleep"?

I suffered from sleep paralysis for many years during my teenagehood and early adult life. I remember perfectly how I felt during the nights I had it. At first, it was terrifying, but I kinda got used to it and started experimenting with different ways to wake up. Some would work, some would make it worse, but I think I started having fun with it (despite the awful day that would come after a night with paralysis). I know it sounds crazy, but I tried to make a lemonade out of lemons? And then I started to write ideas. I even wrote a whole anthology of ideas about it. One of those ideas for an episode became “I’m Not Asleep”. 

 

2. Could you discuss your creative process in bringing Alex's struggle with sleep paralysis to the screen?

I had this script for many years. As I developed as a filmmaker, I started having many ideas for how I would create the two things I most wanted to be in the movie: the bizarre dreamy feeling of being paralyzed while asleep and how bad a person can feel after having a night like this during the whole day. For the first, I experimented with a technique of holding the lenses in front of the camera, but not locking it. I wanted this shaking feeling to be as organic as it could. And the light leak was very important for the vibe I wanted. For the consequences of not sleeping well, I wanted to give the editing and voice over a slow pace that would match how she feels as opposed to the more fast pace at the paralysis moments. To bring all of these feelings and vibes, I turned to my past experience as input to make it to the screen.

 

3. As a filmmaker experienced in directing, editing, and writing, how do you approach balancing these different aspects of filmmaking?

I truly believe that the more you practice and study editing, the greater of a filmmaker you get. So I would definitely say that being an editor makes me a better director and writer because I think these two skills are a big part of editing a film. When I edit, I write and direct the movie again. And when I write and direct, I often go to an imaginary cutting timeline and edit in my mind what I am trying to create. I’m not saying this is true for everyone, but for me it works like this - and I kinda like it that way because I love editing stuff. 

4. What challenges did you encounter while depicting such a complex psychological condition in "I'm Not Asleep"?

I think the hardest part of making a story about a psychological condition is translating into images such complex feelings in a way that people will relate to that, having had similar experiences or not. When you achieve that specific place in immersion, you have something to be proud of. 

 

5. How do you believe short films contribute to the broader conversation in the film industry, especially regarding themes like mental health?

I think short films should have more space in the mainstream industry, especially in this streaming era we are now in. There are so many amazing short films around the world that should reach so many more places and people. When we talk about films that regard sensible themes like mental health, it could be such a great part of the help having this kind of content within everyone's reach. But I feel like there’s a lot of opportunity in this matter that is being neglected. A short film is a fast, many times deep and very helpful source of good influence in this kind of subject and it can open many opportunities for discussion and debates. 

 

6. Can you share any insights into your creative inspirations and influences as a Brazilian filmmaker?

Brazilian cinema and TV are some of the best in the world, so I have many inspirations that come with me since I was born. From the great era of “Cinema Novo” to some worldwide classics like Cidade de Deus, there’s a strong connection to art in our culture. And it is not only image art. The rhythms of Brazil infuse my filmmaking with energy and vitality. I often incorporate music and dance sequences into my films, using them to enhance the narrative and evoke emotion. Talking particularly about “I’m not Asleep”, it was my first time shooting abroad (NYC) and first time making a thriller. So I had the challenge to work outside my comfort zone, but I definitely brought some home influence in it.

 

7. What drew you to filmmaking initially, and how has your journey evolved since then?

What drew me to filmmaking was watching movies. As a teenager, the more movies I watched, the more I had this urge to tell stories. At 15, I got my first handycam and started experimenting with friends and neighbors. That’s how it all started: writing, editing and directing. From there, I never stopped. 

 

8. As someone deeply involved in storytelling, how do you see the role of cinema in addressing societal issues and promoting empathy?

One of the most potent aspects of cinema is its ability to foster empathy by allowing audiences to step into the shoes of others. Through compelling characters and immersive storytelling, films can humanize individuals from different backgrounds, cultures, and experiences, fostering empathy and understanding across societal divides. This emotional connection encourages viewers to see the world from perspectives other than their own. Film screenings, panel discussions, and community events can create spaces for meaningful conversations, where audiences can come together to share their perspectives, exchange ideas, and explore potential solutions. And, again, short films could have a way bigger part in all of this. 

9. What advice would you give to aspiring filmmakers who are navigating the complexities of bringing their visions to life?

Make bad movies. Don’t stop. Even if it is not as good as you wanted, do it. I really believe that experience and practice is what makes a good filmmaker. Talent is a skill you need to work on just like all of the others. And edit your stuff.

 

 

10. Can you discuss any future projects or themes you're passionate about exploring in your filmmaking career?

The next step in filmmaking I wanna try is making an action movie. I love fighting and escape scenes. I started loving movies with John Woo and Tarantino’s Kill Bill, so I really wanna try it any time soon. My next short film has a fighting scene and it is almost done, so let’s see how it turns out.

 

11. How do you approach collaboration with actors and crew to achieve your artistic vision on set?

I love seeing what people bring to the table. I really like working with people that understand my vision and bring their own interpretation for it. So improv is always welcome.