Meet Luka Kluskens, a Dutch actress and filmmaker whose short film BLIN FIDUCIE is now available on T-Port, thanks to our partners at Screen Talent Netherlands.

In this interview, Luka shares the personal and cultural roots behind her visually bold and surreal work, explores the challenges of independent filmmaking, and offers candid reflections on the creative process behind building an entire majorette competition from scratch.

Currently developing her next projects, Luka is definitely a filmmaker to watch.

Hi Luka, could you introduce yourself in a few lines — where are you from? How long have you been a filmmaker? How many films have you worked on?

My name is Luka, I’m 26 years old, and I’m an actress and filmmaker from Maastricht, the Netherlands. I graduated in 2021 as an actress from the Institute of Performative Arts in Maastricht, and since then, I’ve been working in both film and theatre.

In 2021, I made my first short film, THE GREAT APPEAL OF THE CHERRY BLOSSOM, followed by my second short, BLIN FIDUCIE (2024), which is also available on T-Port. I am currently developing my third short film, TWILLY, in collaboration with the production company IJswater Films.

Together with London-based director Floris Ramaekers and Dutch production company Pupkin Film, I am also working on the development of a feature film.

What inspired you to become a filmmaker?

Storytelling is something I’ve always done in many different ways. I’ve been photographing and writing since I was very young, and I always dreamed of going to film school to become a director. In the end, I studied acting, but I believe that the combination of acting and directing really enriches my work in both fields.

I’m inspired by films and filmmakers such as Carlos Saura, Federico Fellini, David Lynch, Luis Buñuel, Alex Prager, Pedro Almodóvar, and many others. I love telling small, intimate stories in a bold, visual, and surreal way.

Do you have a philosophy behind your filmmaking? Could you tell us about it?

My philosophy of filmmaking is imaginative, surreal, and infused with humor. I love to play with the line between reality and illusion, and with truth as a central theme. I aim to question what truth really is and explore the blurry boundary between what is real and what is merely appearance. Today, that boundary has become especially dangerous, as truth and illusion often blend seamlessly and are easily manipulated—with profound consequences.

I like to approach these large, complex themes in a visual and emotionally resonant way, always from a personal, humorous, and cinematic perspective. Family relationships, culture, identity, and the place you come from are recurring core elements in my work.

How did you first start working on this film? What was the process like and what first sparked the idea to make it?

BLIN FIDUCIE is a film that truly stems from my own culture and perspective on the world. It tells the story of a girl who tries to do right by her mother, set against the backdrop of the majorette scene—a strong part of the Limburg culture, the region where I’m from.

The film explores the theme of truth versus lies, and the human tendency to hide in illusions when reality becomes too painful to accept. This theme is deeply personal to me, but at the same time, it speaks to something universally human.

The making of the film was an intense and ambitious process—especially for a short film—because we built an entire majorette competition from scratch. We created a full-scale event, complete with majorettes, marching bands, food stalls, banners, and a large group of extras. It was a wild and exciting adventure, but I believe we succeeded in creating a rich, immersive world.

Within that fantastical and vivid setting, the intimate story between the mother and daughter finds the space to resonate deeply. That’s the kind of storytelling I strive for—where big, imaginative worlds make room for small, emotional truths.

And then when you began the practical side, how did the production process pan out for you?

The production process is so different from the writing and shooting phase. In production, you often feel quite distanced from the heart of the project—from its essence—because everything becomes technical and practical. At times, it can be confusing, slow, and incredibly complex, especially when many people and parties are involved.

But overall, I find it deeply inspiring, moving, and honestly fantastic to see how many people in Limburg are willing to support and get involved in a film production. That’s truly wonderful!

What were the biggest challenges you encountered during making your film?

So many extras! That is something different!

Tell us about the visual choices in your film. What were your main goals and techniques in creating the visual style of your film?

For BLIN FIDUCIE, I really wanted to create living photographs. Together with Elf Godefroy, the DOP, we developed a strong visual style that explores the perception of Francis, the main character—a perspective that often feels slightly off or alienating. Bold colors, especially red, dominate the film. The framing, camera movements, subtle zooms, and the final freeze-frame at the end at times echo a Tarantino-like aesthetic.

Can you share the most important lessons you learned through the process of making the film?

The most important lesson I’ve learned is how essential it is to be able to trust your team. Unfortunately, that’s not always the case. When you can’t rely on the people around you, a vital part of your process can easily be lost—and that can put the entire film at risk. I’ve learned that your gut feeling really matters in this. A trustworthy, solid team is absolutely key!

If you could go back in time to pre-production and give yourself one piece of advice, what would it be?

The advice I would give myself is: “Keep going, even when it feels too ambitious!”—because we did it, and I’m incredibly proud of that. I heard many people express doubts about whether this plan was actually feasible—and I had those doubts too. But I truly believe that anything is possible in film. With the right people and the right expertise, you can bring any vision to life. The most important thing is strong collaboration and truly believing in your own idea. That’s something I never want to let go of again.

How has the process of distributing the film been for you so far? What have you learned?

The distribution process is, yet again, something entirely different—and I’ve been reminded of that once more. I’m handling most of it myself, with as much advice and support as possible from Screen Talent NL and the amazing people connected to it. But for my next film, I really hope to hand over (at least part of) this process. As a creator, you simply can’t be equally involved in every single aspect.

What do you wish you’d known before you began the distribution process?

Everything, haha! No, I do know a lot, but it is difficult when you don’t have the money…

What are your expectations from T-Port? Has working with T-Port taught you anything about the industry?

I’m really looking forward to what can come of this. I think it’s a fantastic initiative, and I’m excited to see what the future holds!

What’s next for you on the filmmaking front?

Currently, I am working on my third short film, TWILLY, in collaboration with production company IJswater Films. Additionally, I am developing a feature film with London-based director Floris Ramaekers in collaboration with Pupkin Film.

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