T-Port Blog

Inbar Shtiglitz is a filmmaker originally from Givatayim, Israel, now living between France and Israel. A graduate of our partners over at the Minshar School of Arts, Inbar has written and directed three narrative shorts and is currently editing a short documentary. In addition, she has worked extensively as a cinematographer, art director, casting director, and script editor.

Her latest film, RED HEART, is a quiet, piercing portrait of a childhood relationship and its emotional echoes. We caught up with Inbar to talk about her creative philosophy, the process behind RED HEART, and what it felt like to work with child actors in a deeply personal film. 

Hi Inbar! What inspired you to become a filmmaker?

My thoughts naturally unfold into scenes. I feel that everything is a story I can’t help being pulled into. Imagination dancing with reality. I suppose it comes from a deep love and curiosity for people. More than anything, it’s rooted in a sensation of being carried away, and so, nothing compares (for me) to the experience of sitting in a dark cinema hall, watching a film.

If you could watch one film on a loop forever, what would it be?

LE STREGHE (1966, Luchino Visconti, Mauro Bolognini, Pier Paolo Pasolini, Franco Rossi and Vittorio De Sica.)

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

The spark for this film came from a childhood memory of a neighbor I had, someone with whom we knew how to find comfort in each other’s existence, even without ultimately forming a real connection. He stayed with me over the years and never quite left me alone. I sat down to write about him and found myself drawn into a kind of reimagining of our relationship and of my memories through the script.

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

The beginning of the practical side felt odd. I thought I knew exactly what I wanted, but the deeper I got and everything became more precise, the more the story pressed on me. In hindsight, I was digging into a very deep wound, and the artistic style I wanted for the film acted like a protective wall, shielding me emotionally from fully collapsing into it. That style ultimately gave the film its tone—both deeply emotional and so detached and distant, like static, observing shots. It was a very personal process. Working closely with a talented team, the communication grew stronger over time, and they became such an integral part of the film that I was able to let go of control, trusting their precise support for this creation.

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

In a small film like this, made on a student budget, amidst COVID and wars, maintaining communication with the same team and keeping a focused mindset was no small challenge. 

At times, I felt that when the world is going through such huge events, what place is there for a small story like this? Yet at other times, I reminded myself that the world is made up exactly of these many small stories. The human core is not different at all, and therefore, such stories always necessarily have their place—it takes courage to tell them.

Tell us about the sound choices in your film.

It was important for me not to use any non-diegetic sound. The entire sound world, much like the visuals, needed to float within the consciousness of the character. We are an inseparable part of her experience, to the point that this connection can feel violent. There is no escaping reality, and no music that falls from the sky. Time feels slow and tedious, and apart from the eyes of a child and her way of seeing the world, it was important for me not to soften the harsh story I wanted to tell.

What was it like for you working with the actors you cast? Do you have a technique for directing actors you can tell us about?

The main cast consists of two 10-year-old children, and we simply became the best of friends. I truly love them and spent a lot of time with them. It was important to build trust and make sure they felt safe. I wanted to convey complex emotions through them, and to do that, I had to understand their inner world and what could evoke certain feelings suitable to the story. Once we had that deep understanding, I let them improvise freely. Their movements and lines perfectly matched the characters as I had written them.

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

One of the most important lessons I learned is not to fear the discomfort that comes with the story you’re telling and how you choose to do so. We seem to be trapped in a cultural paradigm that sanctifies immediate understanding. We’ve lost the habit of staying inside moments of ambiguity, discomfort, and natural rhythm. I wanted to convey that unease, and that was something I was afraid to do. It took me a long time to trust it.

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

I would tell myself that it’s important to feel comfortable taking more time. You discover new things throughout the process, and it’s important to let them sink in. That doesn’t mean you’re off track. Within an intense process, it’s crucial not to forget that you can always, and maybe even should, take time to refigure.

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

The distribution process has been slow but steady, step by step. I’ve learned that there are stages and a specific order to things, and that it’s a whole world in itself.

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

I wish I had known how and where to best position my film. It would have helped to have more comprehensive information about festivals and scouts that are the right fit, as well as other platforms or opportunities.

What’s next for you on the filmmaking front?

I’m currently editing a short documentary I’ve been working on for the past two years, and have been developing several other projects. I’m really excited about them and eager to keep learning through them. The more I learn, the broader my perspective becomes, which fills me with energy and inspiration.

Submit Your Short To T-Port Today