French filmmaker “Nawal Kaffouf” Talks Sci-fi Short ARTHON

Nawal Kaffouf is Director, Screenwriter & Producer known for Une Prof De Ouf (2016) and LPDM (2018)

indieactivity: How did you become a filmmaker? How would you describe your style?
Nawal Kaffouf (NK): I think I became a filmmaker before I even really defined myself as one. I have always loved telling stories, imagining characters, and creating worlds. But, it was with my first short film, A Crazy Teacher or Une Prof de Ouf (french). That I truly began to build my career as a director and screenwriter.

I am entirely self-taught. I have never attended film school or received any academic training in filmmaking. I learned by doing, experimenting, watching films, and studying the work of other directors. Above all by directly experiencing the reality of being on a film set. Every project has been a real school for me, with its mistakes, challenges, and discoveries.

This self-taught approach has also allowed me to develop a very personal way of working. I have never felt confined by rules or by a particular genre. I enjoy exploring different worlds and moving from comedy to drama, and then to science fiction with ARTHON.

I would describe my style as quite eclectic. I like moving from one genre to another, but I am particularly drawn to original stories. To characters facing strong situations, and worlds that make the audience think. With ARTHON, I wanted to explore science fiction while maintaining a very human and contemporary dimension.

The Official Trailer for ARTHON by French Filmmaker “Nawal Kaffouf”

Do you work with a casting director, or cast yourself? What criteria do you consider during casting?
Nawal Kaffouf (NK): For me, casting is an essential step. Because, an actor must be able to give the character a real personality. Above all, I look for authenticity, presence, and the ability to understand the world of the film.

For ARTHON, which was filmed in Chicago. I had the opportunity to work with American actors, including Max Kafel and David Zev Weiner. Working with an American crew and American actors was also a new experience for me as a French filmmaker.

What went into the casting process for “ARTHON”?
Nawal Kaffouf (NK): For ARTHON, I was looking for actors who could make a science-fiction world believable while maintaining a very human dimension. The film relies heavily on the contrast between Arthon, who has the innocent appearance of a child, and the extremely serious mission he has been given.

Max Kafel and David Zev Weiner brought this world to life and created the contrast between Arthon and James Lewis. The character of James Lewis, in particular, had to represent an obsession with power, money, and control.

Without giving anything away, can you tell us a little about the screenplay? How did the idea come to you?
Nawal Kaffouf (NK): ARTHON was born from my reflections on climate change and the consequences of our actions on our planet.

I imagined an alien who looks like a child and arrives on Earth with a terrible mission: to eliminate humanity in order to save his own people. His world is also under threat, and its future directly depends on what happens to Earth.

What interested me was creating a paradox: a child who appears innocent but who is actually carrying an extremely dangerous mission. I also wanted to show that appearances can be deceptive.

Who is “ARTHON” aimed at? Who do you think would particularly enjoy the film?
Nawal Kaffouf (NK): I think ARTHON can appeal to science-fiction fans, but not only to them. The film also deals with very current issues: climate change, environmental destruction, the pursuit of power, and the consequences of our choices.

I like the idea that a science-fiction film can entertain while also making people think. I therefore hope the film can appeal both to people who love science fiction and to those who enjoy stories with a message and a reflection on our society.

How long did it take you to shoot the entire film?
Nawal Kaffouf (NK): I arrived in Chicago on November 7, 2022, and we started shooting the following day, November 8, for a single eight-hour shooting day.

ARTHON was a particularly important experience for me because it took place in Chicago, in the United States. It was a real change compared with my first two short films, which were made in France.

Beyond the filming itself, this project represented a new step for me: working in an American environment, with American actors and crew members, and making a film in English.

How long did the post-production process take?
Nawal Kaffouf (NK): Post-production took approximately three months, particularly because of the work on the special effects. This was a particularly important stage for ARTHON, because I had to find the right balance between the story, the characters, the atmosphere, and the science-fiction world.

For me, post-production is not simply about finishing a film. It is also the moment when you truly bring the imagined world to life and make sure that the emotion and message you want to convey work on screen.

The film brought together many talents behind the camera, including cinematographers, sound designers, composers, etc. Why is diversity important both in front of and behind the camera?
Nawal Kaffouf (NK): For me, diversity is essential because every person brings their own sensitivity, experience, and way of seeing a story.

Filmmaking is precisely a collaborative process. Even when you are the person behind a project as the screenwriter, director, and producer, the film evolves through the people who work with you. This is particularly interesting when working in another country and another culture.

For ARTHON, being a French director working in the United States allowed me to compare my own way of telling a story with that of an American crew and cast. It was a very enriching experience.

What are your goals for “ARTHON”?
Nawal Kaffouf (NK): My first goal is to give the film the opportunity to travel and to continue presenting it to audiences through different platforms.

But beyond that, I especially want ARTHON to make people think about the way we treat our planet. The film is a kind of warning. We know that the environmental situation is concerning, but despite the many warnings, we sometimes continue to behave as if the consequences are far away.

Through science fiction, I wanted to imagine an extreme situation that forces us to look at our own behavior.

What advice would you give to a new filmmaker at the beginning of their career? Are there any courses, workshops, or books that you would particularly recommend?
Nawal Kaffouf (NK): Above all, I would advise them to start. You should not wait until all the conditions are perfect before making your first film.

My own journey has taught me that the most important thing is to tell a story that you truly care about. My first short film allowed me to take my first steps, then LPDM allowed me to go further, and eventually ARTHON took me to the United States.

I would also advise filmmakers to watch as many films as possible and study the way directors tell their stories.

Who is your favorite director? Why?
Nawal Kaffouf (NK): My favorite directors are James Cameron and Steven Spielberg. I admire their ability to create original worlds, tell powerful stories, and reach a wide audience. Their films are ambitious, imaginative, and deeply human at the same time.

What also inspires me about their careers is that they both learned largely through experience and on their own, rather than following a traditional film-school education. As a self-taught filmmaker, I strongly identify with this approach. Their careers remind me that it is possible to develop your vision, learn through practice, and build your own path in filmmaking.

This is also one of the reasons why I wanted to make ARTHON in the United States. I wanted to experience it firsthand and give the film a genuine American atmosphere while maintaining my perspective as a French filmmaker.

What advice would you give to filmmakers around the world?
Nawal Kaffouf (NK): My advice is simple: believe in yourself, work hard, persevere, and let your results speak for you.

You also have to accept that you will learn something from every project. My journey began with a comedy short film, followed by a drama, and then a science-fiction film shot in the United States. Each project taught me something new.

But above all, you have to be prepared to meet people who may try to discourage you, sometimes even people close to you. With my first short film, A Crazy Teacher, I personally encountered people who told me that it was impossible, that I would never succeed, and that my film would never be selected or win awards.

You should never allow other people’s doubts to become your own. Some people may be jealous or simply unable to believe in your project. You should know how to listen to constructive criticism, but ignore those who deliberately try to put obstacles in your way.

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