Hi Josh, thank you so much for taking the time to do this interview. I watched Una Volta, and it was beautifully made. How did this idea manifest for you?”
Thanks so much! I’ve always been fascinated by the idea of time—like many genre filmmakers. Watching Back to the Future as a kid and later diving into books like Stephen Hawking’s A Brief History of Time definitely planted seeds. Una Volta isn’t really a time travel story, but it plays with the blending of past, present, and future, which definitely overlaps.
I don’t want to give too much away, but I was also inspired by scenes from films like Mulholland Drive, Primer, and Stalker.
Also, since we didn’t have a huge budget, I really leaned into the idea of working with what you have. Shooting in the forest seemed like a great plan—it looks beautiful, and you don’t need a lot of lighting. But of course, during pre-production I learned the hard way: you still need electricity for some lights, a generator, toilets for the crew… suddenly it’s not so simple anymore. I always go into projects with a kind of naïve optimism—if I thought too hard about everything that could go wrong, I might never make anything.
“How do you feel about Panic Fest? What has this whole experience been like for you so far?”
Panic Fest is absolutely AMAZING! Truly one of the best. The way it’s alive both online and in the real world is just phenomenal. It’s so well organized and full of energy—it’s an absolute blast. We’re incredibly honored to be part of the selection.
“Una Volta is beautifully shot. There is a psychological aspect to it that makes it so much creepier. Why did you decide to do a supernatural-based film?”
Oh easy—because I love genre films! My girlfriend and I are always searching for those hidden gems, the kind of films that don’t rely too heavily on jump scares but crawl under your skin. Over the last ten years or so, it feels like there’s been more space for those kinds of movies, especially with studios like A24 and NEON giving them a platform.
I’m especially into sci-fi like Pi, Primer, and Stalker, and psychological horror like Mulholland Drive, The VVitch, Hereditary. I also love fantasy, like Pan’s Labyrinth, though I never thought I’d make something that leans partially into that. Una Volta kind of snuck up on me in that sense.
“What was it like working with your cast and crew?”
It was absolutely amazing. I think a lot of people don’t realize how collaborative filmmaking really is. If you’re a writer or painter, you mostly work alone. Even in bands, usually only one or two people are writing the songs. But filmmaking? It’s this massive group effort.
I had a basic idea of the world, but it was the DOP, art direction/props, makeup, editor, sound, music, actors—everyone—who helped build and elevate it. As a director, you’re constantly making decisions—yes or no to the endless flow of ideas coming your way. Luckily, the vibe on set was great, and I’m happy to say most of the team is working with me again on new projects!
“What would you like to say to everyone who will be a part of Panic Fest?”
I can’t wait to see your films! That’s one of the best parts of festivals—discovering work you might never encounter elsewhere. During our festival run, we’ve seen so many personal favorites, and I’m looking forward to adding more at Panic Fest.
“What are you working on next?”
Right now, I’m working on two things. Because Una Volta feels like part of a bigger universe, I just shot something much smaller called Doors. It’s a fast-paced short, just over one minute long—a little rollercoaster.
We’re also in pre-production for an 8-minute short called Friends. This one’s going to be weird… in a good way. I think it’s going to feel pretty original. I’ll definitely keep you posted on that!
“Is there any chance Una Volta would become a feature film?”
Who knows! 🙂
Thanks so much for your interview. More info about our film is on www.unavoltafilm.com and our Instagram.