INTERVIEW with Shehzad Afzal
When I made this film, I knew my personal journey was as much a part of the art as the film itself. That's why I created a press kit that isn't just about marketing; it's a vulnerable and honest artifact of what it took to get here. It's a departure from the typical, polished narratives of success, and I believe that makes it a significant piece of film history. I think a festival that chooses to program 'Pendulum Drift' isn't just screening a movie; they're making a historic discovery", Shehzad Afzal
INTERVIEW WITH Shehzad Afzal
How long have you been doing movies?
I began experimenting with filmmaking at age 9, using a Super 8 cine camera to capture my early creative sparks. My first formal project came in 2004 during a film production course, resulting in the short film The Full 10 Yards, which earned Best Short Film the following year.
How did you decide to start making movies?
My father screened films in UK cinemas, and I often sneaked into the projection booth to watch through that unique lens. Those experiences ignited a lifelong passion for storytelling through cinema.
Why did you do this project?
Pendulum Drift emerged from the 2008 Global Financial Crisis, serving as a practice-led intervention during my Master's course. I developed a 7-Stage Adaptive Method, now integral to my Anti-Fragile Production Paradigm and Decolonial Creative Operating System (DCOS), to challenge the fragile UK film financing model. Scaled up post-graduation, it faced the ultimate Black Swan test with the 2010 Icelandic volcanic eruption, enabling a 5-night shoot with a 4:1 ratio. Life intervened, so I parked the film for years and joined the British Army Reserves at 47 (passing out at 48) to fund post-production. Completed in 2025, it stands as a testament to resilient, boundary-pushing cinema.
(If you can say). What was your budget for this project?
This is a micro-budget film, reflecting the anti-fragile ethos of creating impactful work with minimal resources.
Was it self-funded or did you get budget/producers/investors?
Fully self-funded, drawing from my full-time IT career and supplemented by my military service to cover post-production costs.
How long did it take from the initial idea to being able to release?
The concept took shape in late 2009, with principal photography in April 2010. After a necessary pause for life's demands, the film was fully completed in 2025.
Are you happy with the result?
Absolutely. For a self-funded feature shot over five consecutive nights, it validates the methodology's power, delivering a high-quality, emotionally resonant outcome that pushes cinematic boundaries.
What phase is this project in right now? Are you in the initial phase of sending it to festivals, middle phase or finishing the circuit?
We're in the early stages of festival submissions, targeting venues that celebrate daring, experimental, and innovative storytelling.
How has your experience been with the festivals so far? Where do you think they should improve?
As we've just begun submissions, I'll have a fuller perspective once the process unfolds.
Could you tell us which platforms you use to submit your entries to festivals?
I utilise several platforms, with FilmFreeway as the primary one for its comprehensive reach.
Normally, filmmakers use many references, favorite directors, favorite movies, etc. Were you inspired by any director or film? If so, tell us your references.
I'm drawn to risk-takers like John Cassavetes and Mike Leigh, whose raw, unflinching explorations of human depth inspire my work. Their films serve as key reference points for emotional authenticity and narrative boldness.
Your favorite movie?
A Woman Under the Influence by John Cassavetes, its visceral honesty and unflinching gaze at human fragility remain unmatched.
Favorite series?
The original Star Trek series, for its visionary storytelling and enduring exploration of the human condition.
Do you see yourself making movies in 5 years? Where do you see yourself?
Yes, absolutely—filmmaking is my core pursuit. I envision continuing to develop and produce projects that innovate and challenge, potentially from a more sustainable base, with a focus on decolonial narratives and anti-fragile methods.
Do you have any other project in mind?
Several are in development, including ideas that build on my DCOS framework to explore cultural resilience and experimental forms.
What do you ask for the future? (cinematographically speaking)
I hope advancing technology further democratises cinematic expression, empowering diverse voices with tools that enable bold visions to flourish without traditional barriers.
Your best experience in a movie theater?
Beyond watching Superman (1978) with my family as a child, the sold-out premiere of Bo Kata in Dundee in 2007 stands out, an electric atmosphere of shared discovery and cultural connection.