Natalia Kulik interviews Ido Gotlib, director of “Power of the Mirror” and winner of the Silver Dinosaur in the Etiuda Competition at the 32nd Etiuda&Anima International Film Festival (2025).

Natalia:
Good to see you, Ido. Thanks for accepting the invitation.

Ido:
I’m really happy you reached out. I’m always glad to talk and to see you again.

Natalia:
We’re always rooting for all our laureates at Etiuda&Anima, so I thought I’d check in and see what you’ve been up to lately. I saw something you posted on Instagram… was it an event?

Ido:
Ah, yes—that was a theatre play. A small one I worked on. But actually, there’s been a lot happening, so it’s hard to know where to start.

Natalia:
That’s exactly what I wanted to ask—what changed since you received the award in October 2025?

Ido:
Winning the prize was definitely a big boost for the film. It changed how people perceived it. After I shared the news, I received a wave of messages asking for a link to watch it, which was unexpected.

It also helped professionally. When you speak with producers or people in distribution—especially now, as I’m financing my first feature—it gives you credibility. It’s a bit unfortunate, but recognition makes people take you more seriously. It opens doors.

For example, I was selected for a new talent program at the Berlin Film Festival, together with participants from 13 other countries. That kind of recognition definitely helped.

But it wasn’t just professional—it was personal too. I had worked on the film for almost two years, which is quite long for a short film, and when it was finished, I wasn’t sure how people would receive it. The award gave me a sense that the film was truly seen—and that it touched people. That meant a lot.

Natalia:
Did any audience interpretations surprise you?

Ido:
Yes! I love how differently people interpret the ending—that was my intention. People question what’s real: did Zoe actually come to the hotel room, or was it just imagination?

Some discussions went very far—people even debated whether the character’s actions are “cancelable.” I found that fascinating.

Also, the theme of narcissism—people really picked up on it. I was very happy about that, because it was intentional from the script stage.

Natalia:
You mentioned working on a feature film—can you tell me more?

Ido:
Yes, I’m currently working on my first feature. It’s a melodrama psycho-thriller called “As Your Eyes Closed.”

It follows a couple: Sam develops sleepwalking and starts doing intense things during his episodes. His partner Nora observes him, and this triggers paranoia, jealousy, and obsession—right before their wedding.

It’s tense, but also a very tender love story.

We recently finished a new draft that’s very close to the final version, and we won a prize for best script pitch. Now we’re applying for funding.

Natalia:
Where did the idea come from?

Ido:
It came from personal experience. I occasionally have sleep paralysis—maybe once every year or two, usually during periods of high stress.

You wake up, see your room, but your body is paralyzed. At the same time, you hallucinate. I once saw a bus from a picture fly out and crash into me.

I started researching sleep disorders and noticed that very few films explore them in depth.

Then something happened with my partner. One night, I woke up feeling like someone had bitten my cheek. I saw him—but he was asleep. He had no memory of it.

It was scary at first, but then we had a very intimate conversation afterward. That mix of fear and tenderness inspired the story.

I remember lying awake thinking: “This is a film.”

Natalia:
And the writing process?

Ido:
I knew I wanted a co-writer. After months of conversations, I met Sylvia—my co-author. We’ve been writing together for over a year.

It’s been an incredible collaboration—very intense, but we complement each other well.

Natalia:
You also mentioned a theatre play.

Ido:
Yes. It’s called “The Waiting Room.” It premiered on June 11–13, 2026, in Berlin.

It’s about five people trapped in a room. Behind a door, we hear signs of catastrophe—but we don’t know what’s happening outside. It explores how they coexist.

It’s very personal. I’ve lived in different countries—Israel, Russia, and Germany—and there’s this constant sense of global tension. You ask yourself: do I try to change something, or do I focus on my own life?

Many people feel this uncertainty. That’s what the play reflects.

Interestingly, I wrote it very intuitively—without outlines or structure, just scenes that came to me. It became something very emotional for the people who read it.

Natalia:
Are you working on all these projects at the same time?

Ido:
I work in phases. When one project pauses—like when I’m waiting for funding—I shift my focus.

Right now, I’m focusing on the theatre play. But I’ve also recently developed another feature idea, which I’ll be pitching at a Jewish film festival.

So it’s a constant flow—responding to opportunities as they arise.

Natalia:
Do you have advice for artists at the beginning of their careers?

Ido:
Yes—be persistent and stubborn. You need to actively figure out where your idea fits, who can help, and how to move forward.

Also: be social. Go to events, meet people, start conversations. It creates a domino effect.

And most importantly—be honest with yourself. Ask: do I really care about this idea? Does it keep me awake at night?

If it’s truly yours, it will resonate.

Natalia:
What would you like people to take away from your story?

Ido:
That the beginning of a creative path can be exciting. It’s about maintaining and nurturing that excitement.

And I hope people will eventually see my feature film (laughs).

Natalia:
Thank you so much for this conversation, Ido.

Ido:
Thank you—it was wonderful. I’m really happy we spoke again.

The Waiting Room premiered on June 11, 2026 at ACUD Theater in Berlin.