Mark van Heusden's short film, I Understand, is a stylised exploration of human flaw and the filtered nature of memory. Born from the aftermath of a messy breakup, the project served as a form of "self-therapy" for Mark, who began by writing down everything he wished he had said to his partner in the heat of the moment. This personal exercise evolved into a Rashomon-style narrative, following a man, Ben, and a woman, Eve, as they vent to their respective friends in separate pubs about a recent argument

Starring Sofia Engstrand and Ash Matthews, the film cleverly navigates the discrepancy between the unfiltered version of events we share with friends and the suppressed dialogue we use when facing each other. For Mark, who primarily works as an editor on major productions like House of the Dragon and The Rings of Power, this was a chance to step into the director's chair and exorcise some personal demons through cinema.

Technical Ambition on a Lean Budget

Produced on a self-funded budget of approximately £12,000, I Understand punches well above its weight in terms of visual flair. Mark drew heavy inspiration from the expressive cinematography of Euphoria, specifically its use of elaborate lighting and camera movement to heighten emotion. Working with Director of Photography Jonny Flint, he sought to create a "British version" of that aesthetic, utilising LED lights to turn small London flats into vibrant, moody spaces.

One of the film's most striking technical features is the use of "crash dollies"—rapid tracking shots that zoom into the actors during moments of high tension. These were executed manually by the camera team, including trainee Alec Gardner, who had to push the camera at high speed and stop perfectly on time to avoid hitting the furniture. These shots, combined with a 50mm or 85mm lens, created a sense of claustrophobia and momentum that mirrored the characters' rising anger.

"Alec Gardner... had the job of like pushing really fast but also stopping on time... pushing as fast as they could but not crashing into the table." - Mark van Heusden

The Challenges of Intimate Spaces

Filming in a London apartment provided its own set of logistical hurdles. While the space looked large during the initial recce, it quickly became cramped once a crew of 25 people and a full dolly setup were introduced. Mark notes that a significant portion of film production involves the "underrated" challenge of simply fitting equipment and people into a frame without showing the scaffolding behind the camera.

The film also relies on a distinct colour contrast, moving between the warm, "brown" tones of a traditional pub—inspired by Mark’s upbringing in the Netherlands and Belgium—and the neon pinks of the house party scenes. This visual dichotomy reinforces the different perspectives offered by the two leads. Mark gave his actors room to improvise during rehearsals, allowing them to fill in his dialogue with their own natural cadences, which he believes resulted in more authentic performances.

Navigating the Festival Circuit

Despite Mark’s extensive experience as a programmer for the BIFA-qualifying Kino London Short Film Festival, he found the distribution of his own work to be a learning curve. He admits that his initial festival strategy was perhaps too ambitious, targeting major Oscar and BAFTA qualifying festivals right out of the gate. While the film received positive feedback from those who saw it, it didn't secure as many festival slots as he had hoped.

For early-stage filmmakers, Mark’s advice is to be strategic: start with smaller, local festivals to build momentum before swinging for the high-tier qualifiers. He also emphasises the importance of preparation. In his view, filmmaking is like preparing to cross a bridge, only to find the bridge is on fire when you arrive; you need every tool at your disposal to get across regardless of the chaos.

Would you like to see more of Mark’s work? Check out his CenterFrame profile.

NATHAN HAINES

Co-Founder & Filmmaker | CenterFrame Team

Check his profile on CenterFrame