UPPERFAST director Leve Kühl’s UNHCR film, Through My Eyes, picked up Gold in three categories; Changing the World Frame by Frame, Creative Use of Sound and Film School. Here, Kühl discusses searching for truth, the power of audio, and why the film isn’t aimed at refugees, but at people like him.
Tell us about Through My Eyes and what the inspiration behind it was.
The conversation around refugees and migration has become increasingly heated, often dominated by statistics, politics and borders. But, in the midst of all that noise, the people at the centre of it are too often overlooked.
So, together with UNHCR, we wanted to offer a different perspective. Building on the important work they’ve already done, I felt that while we may never fully understand someone else’s experience, the first step might be to try to see the world through their eyes.
Through My Eyes Changing the World Frame by Frame, Creative Use of Sound and Film School Gold
What’s your background and route into directing?
My mother was a casting director and my dad a colourist, so I guess film was always around, which is probably why I didn’t want to do it at first. I mean, doing what your parents do wasn’t exactly the rebellious youth I was hoping for. So I explored other things early on but, somehow, I still always found myself drawn to film. It took me a while to find my niche, though.
I started with documentaries, because I wanted everything to feel raw and real. But, over time, I realised there’s more to authenticity than trying to capture what is there. That’s when I shifted to screenwriting, to really get into the craft of storytelling and learn the structure behind it. But truth is often found in a moment rather than on a written page – which is why I took acting classes, to better understand performance from the inside out. So, I guess I’m always interested in exploring and filmmaking gives me the chance to do it. It keeps evolving and that’s what I love about it.
The production design is amazing; where did you shoot and how did you make the film look so expensive?
We shot for eight days abroad and one day in Berlin on a very limited budget. Filming in a foreign country is never easy – there are always unexpected obstacles, from logistics to cultural differences to the simple reality of being an outsider in a place you’re trying to portray authentically. But the guys at Upperfast really did an incredible job making it all work, and we were lucky to have amazing local crew who really made the impossible possible.
Though there isn’t much dialogue, the main actor conveys so much through her face; how hard was it to find the right person to portray that character?
I am usually very involved in casting and reached out to Denise M’Baye and Kathy Etoa myself, because they were on my radar for a very long time. They both were an absolute dream to work with; adaptable, easygoing and completely in sync with the project.
Denise had actually promised her son a holiday when we first reached out, but she loved the idea so much, she just brought him along for our shoot abroad. Having both of them on set was a real gift and helped create an atmosphere where everyone could thrive.
You won in the sound category at the YDA; what can you tell us about the sound design and the journey to getting that exactly how you wanted?
Our approach was pretty straightforward; tell the story from an audio point of view. Let the audience hear what’s happening inside the frame and really feel it alongside our protagonist; the chaos, the rush, but also the emptiness that comes with leaving everything behind. Even on set, we made sound a priority. We spent half days just capturing audio with our local sound crew. But honestly, the real magic happened later, when Thore Kühl and the Sound design and music collective Ballad brought everything together. So really, the award belongs to them.
How long did it take you to make the film, and what was the most challenging aspect of its creation?
I think we spent almost six months from start to finish. The most challenging part was probably pre-production and finding the right angle to approach this topic. We handled research with a lot of care, always prioritising safety.
It was important to make sure no one’s well-being was at risk by sharing their story. That’s why Amira’s journey isn’t based on a single person, it’s a blend of many different experiences. We wanted to reflect their strength and resilience, without sugarcoating the reality they face.
What did you learn from making Through My Eyes?
I learned that perhaps the most powerful and respectful thing one can do is to listen.
What message do you hope people take away with them after watching the film?
There’s always a distance between us and stories like this. We read about them, see them in the news, but they remain other. With POV, we take away that distance. You don’t just watch Amira’s journey, you experience it with her. She’s someone who gives, who adds to our communities, and that’s just as much a part of her story as having fled.
Even with extensive research and getting to know countless refugees in preproduction, I can’t even imagine what it must feel like to be one. So, how could I speak for the millions seeking refuge? The truth is, I can’t. But this film isn’t aimed at refugees. They know their stories and, more importantly, they have their own voices, so they don’t need me to speak for them. What I tried to do is speak to people like me, comfortable in their living rooms, and I hope I’ve played a small part in shifting our perspectives.
What are you working on at the moment, and what do you hope the future holds?
I have two projects in pre-production and one in post. I’m also in talks to finally make one of my childhood dreams happen, something longer with a bigger narrative arc. So, I really look forward to that!
What does it mean to you to win three YDA Golds at this year’s ceremony?
It feels surreal and I am very grateful. But I also just want to take a moment to say thank you to all the insanely talented people who’ve been part of this journey with me. [Executive producers] Jacob Burckhardt, Julian Sünram and Niklas Straub, [DP] Jona Riese and [editor] Andrew Holmes just to name a few. None of this happens alone, and I am grateful to have such talented friends.
Interview by Danny Edwards shots
