Film Name: Pisanka
Director: Jorge Yúdice
Writers: Zebina Guerra, Jorge Yúdice
Starring: Marta Bayarri, Javier Ortiz San Martín, Betsy Túrnez
Erica and Anna haven’t seen each other in two years. They meet at a coffee shop to catch up. But first, Erica has to warn Anna of one thing… There is something threatening that only Erica can see. And that “something” is right behind Anna.
In a new exclusive interview on Blazing Minds leading up to the Horror-on-Sea Film Festival, I got a chance to ask Co-Writer/Director Jorge Yúdice a few questions about his film ‘Pisanka‘.
Pisanka has been selected to play at the Horror-on-Sea Film Festival on Saturday 13th January at 12:30pm.
Q. Your film Pisanka has been selected to play at the Horror-on-Sea Film Festival. Can you tell us what we can expect from the film?
A. Our intention from the beginning of the development was to try to convey the same sensations we felt as listeners of these fascinating stories. Goosebumps, anxiety, tension. We knew from the start, and also subject to budgetary reasons, that we wanted to play with the most psychological horror; the threat you don’t see. But we also wanted to give it a twist in the purest thriller style where the most primal emotions could emerge.
Q. You co-wrote the film with Zebina Guerra. What was the process like working together on the film?
A. Fortunately, I have the immense luck of having the talent of Zebina Guerra by my side. Over the past decade, we have written several film and series projects, along with other ideas that we plan to tackle in the future. We’ve been writing together for so long that co-writing with her is a super natural process. Typically, before we start writing, we engage in extensive discussions about the project—characters, themes, the thesis, potential endings. In the case of Pisanka, I wrote the initial version, and Zebina later added her magic. Our writing process always begins with one of us starting from scratch, and then we engage in a ping-pong dynamic, analysing and discussing the project further until we arrive at a version that both of us are satisfied with.
Q. What were some of your influences when writing the script for Pisanka?
A. I don’t watch as much cinema as I would like. Between my work in the advertising world and my recent second parenthood, I’ve spent years where my leisure time has been reduced to brief moments at night when everyone is asleep. That’s why the few productions I end up watching over several days are the ‘undeniable’ ones—those that have withstood the test of time and are still talked about. Filmmakers like Ari Aster, Jordan Peele, James Wan, and Leigh Whannel are some of the recurring names. Films such as The Conjuring (2013), The Invisible Man (2020), and Hereditary (2018) strike me as genuine masterpieces where the sheer density of ideas per minute is overwhelming. These movies serve as true lessons in cinema.
Q. What were some of your influences for the look and style of the film?
A. Most of my time is spent working in advertising, seeking references in other ads, films, short films, music videos, or series. That’s why, when I began the writing process, I started compiling videos and stills in a folder that could help me shape the look of the short film. This means that many of the references are not even from the horror genre, or sometimes not even from the realm of cinema. We can find diverse influences such as the French series Lupin (2021 – ), the American one The Boys (2019 – ), the short film Café para llevar (2014), movies like A Beautiful Day In The Neighborhood (2019), Another Round (2020), We Need To Talk About Kevin (2011), Destroyer (2018) , Drive (2011), Promising Young Woman (2020), or some commercials from Lacoste, Randstad, Mini… Everything is fair game to capture the images that you have in mind.
Q. Did you make any changes from the original script during filming?
A. Yes, we wanted a final jump scare that we removed during filming because we realized it didn’t contribute positively. The mood we left the characters with was very different from the mood needed for a jumps scare to be effective.
We also made some alterations to certain details, which I believe were more budget-related. Originally, we planned for the characters to give the impression of levitating. However, due to the intensity of the scene and time constraints, we discarded this idea because of the additional complexity it entailed.
Q. What were some of your favourite moments during filming?
A. It was incredible to witness the amazing work of the actresses through the monitor. In my mind, I could envision the sound design and the soundtrack, and it sent shivers down my spine. Thanks to the incredible talent of actresses Marta Bayarri and Betsy Túrnez, one could sense the final result: the scenes came alive and worked seamlessly.
One of the most enjoyable aspects was filming the jumpscares. During the shoot, we were capturing something far from being frightening; we had to trust that the editing process would salvage it all. It’s truly astonishing how, by extending a shot beyond the usual duration, playing with the soundtrack, embracing silence, and incorporating the right sounds, the jumpscares worked!
Q. Did you experience any issues during filming?
A. We filmed emerging from the COVID lockdown, turning the shooting into one with masks and antigens, with all the inconveniences that entails. In fact, all the people seen strolling in the background were extras who briefly removed their masks for the shot.
Another significant challenge during filming was the unexpected influx of children playing in the streets during the afternoons. Consequently, much of the footage contains background noise of children’s screams. Fortunately, in post-production, we were able to eliminate most of it.
Due to logistical issues, the egg we intended to use for the shoot didn’t arrive on time. We had to improvise with a white egg filled with tracking points to be replaced by a 3D model in post-production. Yes, surprisingly, every shot featuring the egg in the short film is the work of the magician Víctor Duque.
Initially brought in for just two VFX shots, Víctor ended up handling 46 shots with visual effects due to various challenges during filming. It was quite a feat, and rightfully, Víctor nearly killed us.
Four months after completing the shoot, the package containing the ten eggs that had been ordered finally arrived.
Q. What makes Pisanka stand out as something different in the horror genre?
A. It’s a short film that plays with psychological horror, but I consider it to have a tone rooted in everyday life. In fact, I was very interested in creating terror in broad daylight, in such an ordinary and crowded place like a café. Initially, it’s one of the places where you’d least expect to experience fear. That was the real challenge and precisely what drew me to the project. Can terror be created during the day and with people around?
On the other hand, as I mentioned, I don’t consider Pisanka to be pure horror. It seems to flirt with other genres like thriller and drama. The idea is for all these genres to coexist in an organic way.
Q. What do you hope people take away after watching the film?
A. First and foremost, I hope they’ve enjoyed this roller coaster of emotions. That something inside them has been stirred: fear, excitement, anger, amazement, tension, intrigue… I always adhere to the same mantra: telling stories that can evoke emotions in the audience.
On another note, and focusing more on the underlying theme, I’m very interested in prompting viewers to ponder whether, in the end, they would act like the protagonist. What do we truly know about our closest friends? Would we be capable of forgetting? Of forgiving?
Q. Do you have any other projects which you are currently working on?
A. Yes, at the moment, I am currently, along with Zebina Guerra, in the full development of the script for a comedic series with touches of thriller and romantic comedy. It’s called ‘Wellborn Family‘ (De Buena Familia), and it revolves around the clash between two families with very different backgrounds.
Q. If someone was looking to write and direct their own film what advice would you give them?
A. If someone is venturing into the realm of short films, as I have, I would firstly emphasize the importance of respecting the short film format. Countless filmmakers, both young and not so young, view short films merely as a stepping stone to making a feature-length film. However, a short film, in its own right, possesses the same capability to convey emotions and holds equal validity as any feature-length film. The short film shouldn’t be a means to an end; it should be an end in itself.
On another note, I would say, ‘Save money!’
To work in short films is wonderful, but it can be also a fantasy. It’s been 12 years since I premiered my first professional short film, and I must admit that I haven’t found the formula to exclusively make a living from this pursuit. Moreover, I haven’t had the fortune of benefiting from any grants, so everything has been through private funding. In my recent works like Cocodrilo (2019) or ‘Pisanka,’ I had no choice but to invest 100% of the budget from my own money.
Despite trimming expenses here and there, despite contemplating simple stories like two friends meeting in a café, and despite a significant portion of the fantastic team dedicating their time altruistically, money evaporates at lightning speed.
I would love to be able to produce a short film every year, but the reality is that I cannot afford it economically. Now, with two children and a mortgage, investing a considerable sum of money into what feels like an almost lost cause becomes an increasingly complex decision.
But we love telling stories; we love seeing that idea we wrote with so much enthusiasm come to life on screen. We can’t help it; we love short films and we will fall into the trap again.
Save money!
Pisanka has been selected to play at the Horror-on-Sea Film Festival on Saturday 13th January at 12:30pm.
You can find out more about the festival and purchase tickets here
Published in various websites, Philip is a reviewer who is best known for his interviews and media coverage of independent projects including; films, books, theatre and live events. Always on the lookout for something different to cover!
