With his 20-minute short film Cassandra Venice, Leuven native Hugo Teugels is seeking recognition as a film director. He is currently traveling to film festivals both at home and abroad. After all, making a film is one thing; getting it noticed is another. Between two festivals, we met Hugo in the heart of Brussels. What followed was a captivating monologue about Cassandra Venice, his dreams, expectations, and vision for the medium of film. Read on to discover what this passionate visual artist has to share.
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Igor Vandenberghe (LifeBytes Magazine): Short films often get less attention than feature films. What makes Cassandra Venice special in your opinion?
Cassandra Venice is a deeply symbolic short film. It intertwines metaphors and mythological elements to explore internal conflicts and external human crises, particularly the threat of climate change.
That sounds impressive. How did the idea come about?
I’ve been attending the Venice Film Festival for years, and the city fascinates me, especially at night. Traveling by water taxi in the evenings, I was struck by the mystical silence that envelops nighttime Venice. It feels like a labyrinth where you’re constantly getting lost, with the echoes of your own footsteps following you. That atmosphere was something I wanted to capture.I tied this to a storyline about climate issues, but subtly. The message is embedded in symbolism, like the colors of the main character’s clothing: blue and red. This raises questions for the viewer, which was precisely my intention.As for climate change, we are in danger but haven’t fully grasped what’s coming.
How did the production process go?
(Laughing) Chaotic! I wrote the original story in 2021, and we shot the film in 2022. By 2023, I had a rough cut of 1 hour and 20 minutes. But that’s a feature-length film, and Cassandra Venice was always intended to be a short film. For the Venice Film Festival, I had to edit it down to 20 minutes, which is the maximum length for a short film there.
Did you consider turning it into a feature film?
No, because the current storylines wouldn’t work in a longer format. If I were to do that, I’d have to start from scratch. That means new footage, a new script, and a completely fresh approach.It would also require funding and a producer who’s interested. With a short film, I retain complete creative freedom. I handle everything myself: the script, the camerawork, the sound, the editing, and even the financing. A feature film requires a large team, and I’d lose that independence.
Polli Cannabis is unmissable in Cassandra Venice. How did you manage to cast her?
I noticed her on the red carpet at Cannes. She has an incredible presence. Polli was my first choice, and I mustered up the courage to ask if she’d be interested in working with me. To my luck, she was intrigued. I showed her some of my previous short films, and everything fell into place when she confirmed her attendance at the Venice Film Festival. That’s where she said yes.
Can you make a living from your films?
(Laughing) If only. I work as a payroll consultant for multinationals, ensuring people get paid. Thanks to flexible contracts, I have the freedom to work on my films.
Which directors inspire you?
I’m particularly drawn to mysterious films. Think of The Sixth Sense. Director M. Night Shyamalan fascinates me with his unexpected plot twists, as seen in Unbreakable and The Village.David Lynch and Christopher Nolan also inspire me. Their films require thought and aren’t served on a silver platter.My all-time favorite? Steven Spielberg. His work speaks volumes about his versatility.
If I’m not mistaken, you started as a photographer?
That’s right. My love for short films began with my love for still imagery. I took photography classes at the academy and was drawn to playing with visuals.But digital editing took the soul out of photography for me. That’s why I transitioned to film, where manipulation of the image is part of the medium.For over fifteen years, I was also a radio music critic specializing in film scores. That passion further fueled my interest in cinema.
Which part of filmmaking do you enjoy the most?
That’s hard to say. (Pauses to think) Maybe the actual filming. The adrenaline rush is intense, especially because I never ask for permits to film. In cities like Los Angeles, Venice, and New York, I’ve always filmed without official permission. It’s like guerrilla filmmaking. Official permits involve a lot of paperwork and can be very expensive.I also love editing. It allows me to play with rhythm and visuals without interference. I have over 500 ideas jotted down in a notebook, waiting to be developed.
The entire process, from concept to finished short film, fascinates me. But it’s time-consuming: writing scripts, scouting locations, casting actors. I do all of this myself.I once took a filmmaking course at the NY Film Academy. While it was helpful, it mostly served to enhance my CV for the American market. During that time, I directed The Queen, a Film Noir inspired by The Dark Knight and The Others.
What’s next for you?
I just finished writing a new script. This short film is set in Spain and revolves around an artist who creates Lynch-esque paintings. I already have the location and actress in mind.I’m also working on AnoMiC, an experimental project with footage from four different cities. Whether it becomes one story or something else entirely, I’m not sure yet.Of course, I dream of directing a feature film someday, but short films are my true passion. A feature film would require a large team, and I’m not sure if I can or want to give up that much creative control. For now, I’m taking things as they come.
Editor's Note: At the time of publishing this interview, Cassandra Venice has already won 47 different awards, more on which will be covered in a forthcoming article.
Igor Vandenberghe
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