Victoria Warmerdam’s short comedy-drama I’M NOT A ROBOT has gained accolades and awards across the festival circuit from Sitges to Cannes. But perhaps the pinnacle is yet to come, as the Dutch film has been shortlisted for the ACADEMY AWARD® for Best Live Action Short Film. 

We caught up with the filmmaker for an inspirational chat about the highs and lows of the filmmaking process, the magic of working as a team, and the adventures of the on-set dog. 

Professional subscribers can watch “I’m Not A Robot” now on T-Port, courtesy of our partners at Premium Films.

Hi Victoria, what inspired you to become a filmmaker?

Storytelling has always been in my blood. As a kid, I loved creating stories to entertain my brothers—it just came naturally to me. One of my brothers was a huge fan of Charlie Chaplin, and we often watched his films together as kids, which laid the foundation for my love of comedy. 

Later, I discovered the work of Charlie Kaufman, whose unique, absurd yet completely believable storytelling deeply inspired me. 

In a way, two Charlies shaped my path into filmmaking.

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

I like to tell stories that are a little absurd but still feel oddly relatable—kind of like life, if you really think about it. Humor is my way of sneaking heavier topics into the mix. It’s like wrapping a difficult truth in a joke; people swallow it before they even realize it’s there.

I’m fascinated by the weird little quirks of human behavior and the bizarre situations we get ourselves into. Adding a touch of the surreal is just my way of saying: “Hey, life’s already strange enough—why not lean into it”.

How did you first start working on “I’m Not A Robot”? What was the process like and what first sparked the idea to make it?

The idea for this film came from a surprisingly mundane moment—I was struggling to pass a CAPTCHA test online. That got me thinking: what if this was how I discovered I was actually a robot? That simple thought spiraled into a much bigger story about identity and what it really means to be ‘human.’ 

From there, I began fleshing out the concept into a screenplay, and as always, I relied on humor to delve into the deeper themes.

For this film, I already had Ellen Parren in mind for the lead role. In fact, I reached out to her even before writing, so I crafted the script specifically with her in mind. That’s how I usually prefer to work—it’s so much easier to write for a specific actor than to find someone who merely fits the character on the page.

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

Casting is something I always do together with my producer Trent. It’s such an important part of the process, not just for the actors but also for the crew. Finding the right crew members is just as critical—it’s about assembling a team that shares your vision and can bring their own creativity and expertise to the table.

 Trent and I make sure we’re building a team that gets the vision but also brings their own flair to the project.

Of course, just when we thought we had everything lined up, COVID-19 had other plans. We had to postpone the shoot twice. By the time we finally started filming—15 months later—I think we were all just relieved to be on set. It wasn’t the smoothest journey, but it taught me a lot about patience and persistence.

What were the biggest challenges you encountered during production?

The most challenging part of making this film was definitely the editing process. For a long time, I felt like my own worst critic in the edit suite. During the majority of the edit, I genuinely thought I had made the worst film ever. I even asked my producer at one point: ‘If this doesn’t work, do I have to release it, or can we just put it on the shelf?’

The edit can be confronting because, up until that point, your film exists as this hypothetical, perfect idea in your mind. But when you’re in the edit, it’s just what it is—you have to make the most of what’s there. 

Comedy adds an extra layer of difficulty because timing is so critical. Sometimes, it comes down to a single frame—one frame more or less can completely change the rhythm of a scene.

In the last days of the edit, we finally found the right flow and balance, and that’s when I started to think: “Okay, maybe it’s not as bad as I thought!” It’s a humbling process, but also one of the most rewarding when everything comes together

How was it to collaborate with your cast and crew? Have you formed any particular meaningful connections?

Collaborating with the cast and crew is, without a doubt, one of the best parts of filmmaking for me. Our Belgian line producer was incredible—she truly fought for this film when things got tough. The Belgian crew she brought on board was equally amazing—such talented, kind people who made the set feel like an inspiring and welcoming place to be.

What I love most about this process is the shared sense of purpose. Everyone brings their unique skills and creativity, and together, you create something far greater than any of us could achieve alone. 

By the end, it feels like you’ve built this temporary little family—working hard, laughing often, and keeping an eye on our set dog, Bowie, who was either trying to steal butter from the catering table or taking the elevator on her own in search of food.

Tell us about the sound choices in your film – what type of score did you use and why? What other types of sounds did you use?

In my previous shorts, music and sound design were always in service of the dialogue, which is a big part of my films. For this project, I wanted to explore the synergy between the musicality of speech and composed music, finding ways for the two to coexist and enhance one another.

Before I even started writing the script, I approached composer Merlijn Snitker, whom I had worked with before, to brainstorm the concept. While I began the writing process, he started composing, and we were able to inspire each other as the project developed.

Some of the early score he created ended up being integrated into the film. It really proved my philosophy that the earlier you involve your crew, the more unified and cohesive the final result will feel.

I also worked with Kasper Koudenburg, who has been the on-set sound recordist for my last three films. I really value his craftsmanship and his thoughtful input during production. He has a great sense for capturing dialogue, which is so important for me since it’s such a central part of my storytelling. His approach ensures that the dialogue comes through clearly and naturally, while still leaving room for the broader sound design to shine.

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 me, the visual style of a film is deeply intertwined with its tone and themes. With this project, I aimed to create a world that feels slightly heightened and surreal, yet still relatable enough for the audience to connect with emotionally. The visual style needed to strike that delicate balance.

The overall design was inspired by a nostalgia for vintage and retro aesthetics, which provided a contrast to the rapidly evolving sci-fi world in the story. Shooting on 35mm film was the perfect choice—not only did it match the aesthetic vision, but it also aligned with the human-centered approach of the film, reflecting the human craftsmanship behind it.

When it came to cinematography, my DP, Martijn van Broekhuizen, and I drew inspiration from the eerie atmosphere of the first season of Homecoming (created by Sam Esmail). 

While “I’m not a robot” is a dark comedy, I wanted the cinematography to prioritize the drama rather than the humor. For the main character, the situation she faces is anything but funny, and I wanted the visuals to authentically reflect her experience.

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? 

When I first had the idea for this short, Ellen Parren immediately came to mind as the lead. She had been on my radar for a long time because of her brilliant comedic timing and her ability to approach comedy with such seriousness, which was exactly what this role needed.

The actor who plays her boyfriend, comedian Henry van Loon, is someone I consider my muse—I wrote my previous two short films for him. For this project, I also wrote most of the other roles specifically for the actors. Some were people I’d worked with before, while others had been on my wish list for a while.

When I write, I always keep the actors in mind. I try to hear their voices as I write dialogue and think about their specific strengths, so I can make full use of their talents.

When I’m directing actors, I always strive to keep things clear and simple. I don’t believe it’s helpful to give an actor six different notes for a single take.

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

I learned that challenging yourself is both exhilarating and terrifying. Shooting on 35mm film was a big leap for me. It looked amazing and really forced everyone on set to focus, but let’s just say my heart skipped a beat every time we loaded a new reel, knowing we couldn’t afford to waste a single frame.

Also, not being able to see much on the monitor was like flying blind. I had to trust my instincts, which is great for personal growth but not so great for your stress levels. In the end, though, it taught me a lot about trusting myself and my instincts—and that sometimes the best moments come from just letting go and diving in.

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

I’d tell myself to relax and trust the process a bit more. Filmmaking is full of surprises, and no matter how much you plan, something will inevitably go sideways—and that’s okay.

I’d also remind myself not to panic during the edit. At some point, every filmmaker feels like they’ve made the worst movie ever, but it always comes together in the end. Most importantly, I’d say: trust your team. They often have more experience because they work on far more sets than you do as a director.

What would you like people to take away from your film?

For me, the magic of film lies in its ability to let you step out of your own reality for a moment. It transports you to another world, offering a welcome escape—especially in times like these. On one level, I hope the film simply entertains people and gives them a brief break from real life.

But if you’re open to it, I think the story also has the potential to be thought-provoking. It delves into some big questions: What is free will? What makes us human? How much control do we really have over our own lives?

And honestly, I love the idea that after watching this film, filling out a CAPTCHA will never feel quite the same again.

The film has also screened at major festivals like Palm Springs ShortFest, HollyShorts Film Festival, Fantasia International Film Festival, Imagine Film Festival, BendFilm, Bolton and more.

Seeing the film resonate with audiences and juries has been an incredible experience, and I’m so grateful to everyone who’s supported it along the way.

How does it feel to be shortlisted for the ACADEMY AWARDS® and what does it mean to you as a filmmaker?

It’s absolutely surreal—I never imagined that a little idea, sparked by my struggle to pass a CAPTCHA, would land me on the ACADEMY AWARDS® shortlist. It’s even stirring up patriotic feelings I didn’t know I had. I’m incredibly proud of everyone who made this film possible and of the fact that a film from such a small country as the Netherlands, in the Dutch language, has traveled this far.

The last time a Dutch short in this category made it to the shortlist was in the 1960s (!). I’ve spent years trying to prove that there’s an audience for this specific tone of voice and mix of genres, so receiving this recognition is deeply rewarding.

Did you have a specific strategy for promoting your film? If so, please tell us about it.

I let my producer mainly take care of the promotion strategy. His approach was to map out a festival circuit early on, starting with prestigious Academy Award® Qualifying festivals like Sitges, Leuven and Flickerfest. From there, we aimed to build momentum by targeting a mix of well-known festivals and more specialized ones that matched the film’s unique style. Having someone as dedicated as him handling this side of things was invaluable.

Promoting a film is always a combination of strategic planning and adapting as you go. For this film, the main goal was to target festivals that align with the tone and themes of the story—primarily those focused on genre films, comedy, and shorts with a unique voice.

We also worked hard to ensure that the festival submissions were complemented by strong visuals, like an eye-catching poster and a well-edited trailer. These elements are often the first impression programmers and audiences get, so it was important to make them reflect the film’s quirky yet emotionally grounded essence.

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

With short films, the main avenue for distribution is through festivals, and that’s where most of the focus has been. Thankfully, we’ve had a fantastic festival run so far, with screenings at major festivals like Sitges, Flickerfest, and Leuven, which have helped the film gain international exposure.

Our international premiere at Sitges will always hold a special place in my filmmaker’s heart. The audience there is so engaged and generous—it was an unforgettable experience. At Sitges, we were picked up by a sales agent, won the award that made the film Oscar-qualifying, and I even met my now-manager from Entertainment 360.

This incredible kickstart gave the film real momentum, and it’s been amazing to see it grow from there. Along the way, I’ve also realized just how much luck plays a role. Sometimes it’s about being in the right place at the right time, with the right people seeing your work.  

If you were to have infinite resources – walk us through your fantasy film project

This might be my level-headed Dutch nature speaking, but I’m not entirely convinced that giving a filmmaker infinite resources automatically results in the best film. Infinite trust in my creative process and decision-making, on the other hand, is what I truly aim for. I’d honestly prefer to make a low-budget film with full creative control than a high-budget film with a lot of restrictions.

That being said, I am brewing an ambitious time-travel movie that could definitely use some infinite resources. And okay, I wouldn’t say no to directing a Bond film with a female Bond. Exploring the action-thriller genre is definitely something I’d love to do in the future.

What are your plans and dreams for the future?

I’m currently developing “I’m Not a Robot” as my first feature film, which feels like the next big step for me as a filmmaker. My dream is to keep telling stories that blend different genres—mixing dark comedy with heartfelt characters—and to connect with even broader audiences. I also hope to continue collaborating with incredible people who inspire me and help me grow in my craft.

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