Cannes 2024 Ootid Short Film Interview With Eglė Razumaitė

Premiering in the Official Short Film Competition of the 77th edition of the Cannes Film Festival, ‘Ootid’ is directed by Eglė Razumaitė and is part of the Official Short Film Selection. I interviewed Eglė Razumaitė and her rebel filmmaking team of bandits on the rooftop of the Palais after the official Short Film Screening on Friday, May 24th, 2024.

This ‘Ootid’ short film interview includes Writer/Director Eglė Razumaitė , Producer Lineta Lasiauskaitė, Cinematographer Nojus Drąsutis, and Composer Thomas Franz Seber.

Eric Ethan: Eglė, would you please give us a brief description of what the short film ‘Ootid’ is about?

Eglė Razumaitė: Well, the film takes place in a girls summer camp and basically something happens to one girl and all the rest of the girls start to raise different versions of what happened. And yeah, I mean the film is like a small riddle and in the end the spectator can decide for oneself what happened and what’s the story all about.

Eglė, How did you meet the producer?

We’re from the same academy and that’s how we met, with both the producer and cinematographer. And with Thomas we met in Berlin. I was looking for a composer during that time and we just met and something clicked.

What was it like working on this film? Can you tell us about the techniques you used?

Nojus Drąsutis: Yes, so we shot on Acta -Chrome on 16mm film and we had a really small… crew the whole film was kind of yeah really we tried to go as minimal as we can we didn’t use any artificial light we didn’t have we used only available light and and yeah and one lens one camera to assistance so it was really nice to concentrate on the essentials we used we shot everything in the static shots and tried to yeah work on the messaging

Eglė Razumaitė: Yeah, keep it simple.

Can you tell us about the challenges or the rewards when making this film?

Eglė Razumaitė: Challenges? Actually, I have to say I enjoyed the whole process. And I mean, always the main challenge, of course, is financial, I guess, because this film was super low budget. But I don’t know. You just work it around. And so maybe the biggest challenge for me as a director was to work with the girls, because all of them are nonprofessional actresses. And I just had to find a way to talk to them to get the performances that I wanted to have. So yeah, the relationship with the actresses, I think that was the main challenge, although I still enjoyed it.

Can you tell us what type of techniques you used with the music, the instruments you used, or the process of developing your story?

Thomas Franz Seber: Well, the choice of instrument was not very necessary. I think it’s very necessary that you understand what the director wants to tell with the story, and then that you match the picture with the sound. So I just used very minimalistic piano stuff, but keep it mystery and keep it a bit more secretly, just fitting the storyline, fitting the idea of the director. I think it worked pretty well. Would you guys like to just give me your experience?

Eglė Razumaitė: Well, I’m just super grateful to be here, I guess, and it is a big honor to be noticed by the whole film community. I really want to hear feedback after the premiere. I really want to know what people got. received from the film what did they how did they feel after it what how did they understood it and understand it so yeah that’s that’s all.


For our official coverage of the 77th edition of the Cannes Film Festival, CineVino has partnered with David et Célia Large organic Beaujolais wine.

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