Dovydas and Elena form a strong connection, but the dynamic of their relationship changes when Dovydas reveals that he is asexual
BY ELLA GAUCI, IMAGE BY MARIJA KAVTARADZE
Could you tell us a bit about what inspired you to make this film?
I was very interested in the relationship between my characters – how they build their own intimacy, how they try not to be affected by their own imagination, and how relationships “should look like”. However, it’s difficult for them since they haven’t seen or heard about romance like this. Also, even if they feel like free open-minded people, they are affected by imagining how they should fit and conform to gender roles. I felt like the journey of my characters let me dive deeper into topics I was interested in.
What is the key message you hope LGBTQIA audiences take from your film?
I hope that what stays with audiences is not one message, but a feeling of being in love, some sort of respect and affection for their own experiences – either for past relationships or relationships that they are currently in.
What are the main themes that your film explores?
Different sexual needs in a relationship, intimacy that you need to create when you don’t have a map for it and gender roles.
What is your favourite line or scene from your film?
There is a scene where Dovydas jokes (pretty poorly and I love that!) about Elena’s headband because it reminds him of a phone cord. We did this scene in a casting, rehearsed many times and it was still always funny for me to watch and for actors to play every time.
How did you get into filmmaking and what has been your biggest challenge in the industry?
I knew I wanted to make films from my teenage years. When I was getting into the academy, to study filmmaking, I only wrote one option on my applications.
I guess this one the biggest challenge and the biggest help – the fact that I was so in love with cinema and filmmaking that I didn’t see any other option than to make films.
Why is LGBTQIA representation in film so important in 2024?
It is important to tell and be exposed to stories that are diverse and remind us that there is more than one way to live.
Why are events like BFI Flare which centre LGBTQIA films so important?
It’s inspiring to see how many people are interested, need and look for LGBTQIA stories. It’s also good for decision-makers to see and be reminded to be open and support LGBTQIA stories.
This year’s Flare is split into the themes of Hearts, Bodies, and Minds. Do you have an LGBTQIA film which affected your heart, body, or mind?
The first that comes to my mind is Weekend by Andrew Haigh, The Summer Of Sangaile by Alantė Kavaitė, Passages And Love is Strange by Ira Sachs, and Tomboy by Céline Sciamma.
What do you hope to see in the future of LGBTQIA filmmaking?
More stories that don’t necessarily fit in one box, but rather let characters (and filmmakers) explore, search, and doubt themselves and the status quo.
Anything that creators feel is close to them, personal, important to them at that moment.
SLOW screens at BFI Flare on 15 and 17 March at BFI Southbank. The screenings are sold out however a limited number of standby seats are reserved for sale half an hour before each performance. These are only available for customers in person at the BFI Southbank Box Office.
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