With three Gold awards under his belt for his epic short If I Could Fly, Alexander Kuehn took the event by storm. Here, he explains the two-year project that blends the emotive story of a displaced family with making a girl fly.
Tell us about If I Could Fly and what the inspiration behind it was.
If I Could Fly tells the story of Lika, a 10-year-old girl who has fled from Kyiv to Berlin with her younger sister and mother, leaving her father behind at the start of the war. In her dreams, she gains the ability to fly — a metaphor for her fears and her longing to escape danger and be reunited with her father.
The inspiration came from wanting to address the hidden psychological burden carried by children in war and displacement. I wanted to tell this through the eyes of a child, without judgment or political commentary — focusing instead on what feels like the ‘simplest’ solution to a four-year-old: just bring Papa home.
If I Could Fly – Changing The World Frame by Frame, Film School & Charity Gold
Tell us a bit about your background and route into directing.
I started out studying piano at the Robert Schumann University of Music in Düsseldorf, but my passion for visual storytelling led me into filmmaking. While still at university, I worked as a director of photography on two short films, one of which was selected for Camerimage 2014.
That early recognition pushed me further toward directing. I later studied at the Baden-Württemberg Film Academy, where I developed my narrative filmmaking voice. Over the years, my work has ranged from award-winning short films like Josh and Jacob and Pokerface to major commercial campaigns for Porsche, Telekom and Aldi.
The production design is amazing; where did you shoot and how did you make the film look so expensive?
We shot in Berlin and used carefully selected, real locations for both the refugee shelter and dream sequences. Authenticity was our priority, so we kept things rooted in reality — even the flying scenes were mostly done in-camera. Our Art Department, led by Olga Gredig, did an incredible job in elevating every set and location to feel cinematic and emotionally resonant. Smart planning, resourcefulness and, above all, the unwavering dedication of our irreplaceable producer, Marco Henn, made this possible — with additional support in the background from our co-producers Tempomedia and RadicalMedia.
Similarly, the VFX is great; what was that process like and had you worked with VFX much before If I Could Fly?
I’d worked with VFX in commercials before, but If I Could Fly required a different approach — one that felt organic to the story. Many shots of Lika flying were done practically, using a stunt rig mounted to a U-Crane vehicle, with a second U-Crane filming her. This practical foundation gave the VFX teams — Monkeys.tv, ACHT, UPP, Spellwork, Storz & Escherich, Eye Candy, and Replayboys — something tangible to build on.
Monkeys.tv and ACHT, in particular, gave extraordinary dedication, working extensively with digi-double and full CG scenes to bring the vision to life. The aim was always for the audience to believe in her flight without ever feeling like they were watching effects.
The actors are fantastic, especially the main young girl; how hard was it to find the right person to portray that character?
Casting Lika was one of the most critical parts of the process. We wanted a completely Ukrainian cast, and our casting director Olga Lyubarova searched tirelessly. Anzhelika Eshbaieva was one of 300 e-castings we reviewed — and she not only had the emotional range but also the courage to perform the challenging stunt work. For Daria, we worked with a four-year-old to preserve the natural rhythm of sibling interactions — something that couldn’t be faked.
How long did it take you to make the film, and what was the most challenging aspect of its creation?
From the first concept to final delivery, the film took over two years. The biggest challenge was balancing authenticity with the technical complexity of the flying scenes. Shooting in real locations, with a child actress performing stunts, required careful choreography, rehearsals and a crew willing to push themselves.
What did you learn from making If I Could Fly?
That patience and trust in your collaborators are everything. You can have a strong vision, but it’s the collective effort — from actors to stunt teams to VFX artists — that brings it to life.
I also learned how essential it is to let the story breathe, especially when dealing with such sensitive subject matter.
What message do you hope people take away with them after watching the film?
That the traumas of war are not always visible, especially in children. These experiences can manifest years later in ways we might not expect. I hope the film encourages empathy and understanding — and reminds us that every child deserves a life free from fear, and skies free from bombs.
What are you working on at the moment, and what do you hope the future holds?
I’m currently developing new narrative projects that blend emotional storytelling with visual ambition, and continuing to work on commercial campaigns. My hope is to keep telling stories that connect deeply with audiences while pushing my craft as a director.
What does it mean to you to win three YDA Golds at this year’s ceremony?
It’s an incredible honour — not just for me, but for everyone who worked on If I Could Fly. This film was made with so much dedication from a volunteer student crew and our partners, and to have it recognised on such a stage feels like a validation of all those late nights, rehearsals and moments where we pushed beyond what seemed possible.
We are also deeply grateful that this important message has received so much attention and that, within a short time, we were able to raise $10,000 in donations for the charity Voices of Children.
Interview by Danny Edwards shots
