The film industry seeks innovative storytelling that challenges traditional narratives through synchronized split-screen cinema. This project explores dual perspectives, presenting two distinct yet interrelated narratives that require advanced cinematography, sound design, and editing. It emphasizes collaborative filmmaking, where two creative teams must coordinate seamlessly to balance individual artistic vision with cohesive execution, creating moments of interaction, contrast, and exciting resonance across both screens.
This brief requires the production of a 10-20 minute split-screen short film, where 24 students are divided into two film crews, each developing distinct but interconnected narratives that play simultaneously. Deliverables include pre-production documentation, a fully produced split-screen film, marketing materials, premiere event coordination, and individual reflections, with assessment based on research, ideation, production execution, and the final film's cohesion and professionalism.
Run is a split-screen psychological thriller that visually and thematically explores duality, obsession, and fate. The film presents two parallel narratives, the hunter and the prey, unfolding simultaneously on opposite sides of the screen. Through synchronized editing and mirrored compositions, the split-screen format becomes an active storytelling device, contrasting perspective, pace, and emotion while maintaining narrative tension and cohesion.
The dual narrative structure allows viewers to experience the story’s push and pull, with Dan’s relentless pursuit and Mira’s desperate evasion occurring in real time. As their paths converge, the format emphasizes psychological interplay, blurring the boundary between predator and victim. Run challenges audiences to question whether fate is something we can escape or an inevitable force we willingly confront.
As a producer on the short film Run, I managed administrative and organisational tasks, ensuring schedules, budgets, and ethics forms were all on track. I coordinated the premiere, handling venue meetings, marketing, ticket sales, photography, and catering.
During pre-production, I worked closely with screenwriters, storyboarders, and directors to finalise the script and maintain a clear filming schedule. On set, I sent call sheets, managed crew members, resolved issues, and coordinated with the second team when filming at shared locations.
In post-production, I delegated tasks to keep the team focused and meet deadlines. Producing is a behind-the-scenes role, and this experience strengthened my problem-solving, communication, and team coordination skills. Run was a highly rewarding project, and these are skills I continue to develop.
Run is a split-screen psychological thriller, illustrating the push and pull between a hunter and their prey. Following the story of Dan and Mira, where he goes through extreme lengths to obsessively track her down. When our hunter finally corners their prey, how will they escape their fate? Is fate something we can run from, or something we walk into willingly?
Run is aimed at young adult and adult audiences (ages 18–35) who enjoy psychological thrillers and experimental storytelling. It appeals to viewers interested in character-driven narratives, visual symbolism, and unconventional formats such as split-screen cinema that challenge perception and evoke emotional tension.
