Delusione Film Spotlight

Today’s film spotlight focuses on the short film Delusione directed by Breton Tyner-Bryan.

What is the title of your film and what inspired said title?

The title Delusione is inspired by the literal reference of being delusional, echoing the romanticized themes of dissociation in this film, and serves to challenge the linear perception of time.

Tell us a little bit about the story and origins of your film.

Delusione is an examination of dissociation as a means of survival and manipulation. Fueled by lust and love, this film questions what is real in a memory, and acknowledges that the human experience is based solely on perception. Truth can be a perceived state of collective consensus, which is ultimately a terrifying and fantastical concept. It’s a little Obre Los Ojos, Vanilla Sky, “did we buy this kind of ride?” vibe.

Any films or filmmakers that inspired this film?

This film is very much inspired by the historic speakeasy we filmed in on the upper west side in Manhattan, which closed during the pandemic. I often draw my inspiration from architectural interiors and costume designs that I create to communicate the signature personality traits of each character. In Delusione, there’s a fantastical layer of pleasure and whimsy concealing the individual and collective pain of the film’s characters Hazel and Augustine. I’m sure many performers can relate to that dichotomy and resonate with storytelling as a means to survive one’s psyche. I had originally intended for this footage to be a section in a larger film, but decided to focus on it as an individual piece because of its distinct and singular aesthetic. I think everything we experience goes into our work, and for me, visually, that’s especially true having a photographic memory. I am continually inspired by the work of Todd Haynes, Lena Waithe, Isabel Sandoval, Rhada Blank, and Federico Fellini.

What is the goal of the film for you?

The goal for me is always to share a timeless idea and make visible a unique story, that’s told through a historically specific aesthetic. The goal is to become a better director, actor, editor, costume designer, and collaborator each time. With Delusione, I wanted to convey the tension of the relationship between the two lead characters, seen through the watery lense of a disconnected reality. There’s an experimental madness in the confined feeling of the relationship being bound to this particular space, and a thickness created by the limited amount of natural light. It’s a long, slow rush from pre-production to completion, and I love it. Film is not always considered a live medium, but I find the live unexpected moments on set to be the most exciting and rewarding. Carving it into a beautifully edited film afterwards is equally satisfying .

What has the journey been like getting the film into production?

It’s been wild, and totally thrilling, satisfying, with lots of walls at times, filled with beautiful problem solving by myself and great team members alike.

One thing you learned from this project?

I learned that I’m an editor, with my rhythm and pacing hugely influenced by my experience as a choreographer.

How can folks find you and your film online?

Instagram is a great way to connect with projects that I’m directing and acting in @bretontynerbryan, and film and live productions specifically made by Breton Follies can be found @bretonfolliesny. My films are being screened globally by festivals, and all links to watch are regularly shared on Instagram. All my film centric work can be found at imdb.me/Bretontynerbryan

Any last pieces of advice for fellow filmmakers?

Anything is possible, be optimistic, dream big, and trust your personal aesthetic. It will become your calling card. Make something, make anything, don’t be afraid to start. The smallest project is just as imported as the masterpiece. 

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