Today we have with us Low Segura, director and screenwriter of “Yo sí te creo” (I Do Believe You), a short film that, in just four minutes, demonstrates that sometimes a long duration is not necessary to tell a story capable of staying in the viewer’s memory.
Through suspense, tension, and an atmosphere marked by uncertainty, the film introduces us to a complex and painful reality: the consequences of gender violence, the invisible wounds of trauma, and the impact these experiences can have on mental health.
“I Believe You” arrives at a particularly important moment in its journey. The short film has just received First Prize at the Centelles En Curt International Film Festival (FICC) and now continues its run at the Atlàntida Film Fest, where it can also be enjoyed through Filmin.
Throughout this festival run, The Second Films is leading the distribution of the short film, accompanying its arrival to new audiences and ensuring that a story like “I believe you” can continue to find spaces where it can be seen and heard.
Today we’ll be talking with Low about the origins of this story, the creative decisions that shaped the short film, the filming process, working with the team, and the message behind a work that is already making its mark on his career. Low, thank you so much for joining us. Congratulations on the recognition “I Believe You” is receiving, and welcome.
Low. Thank you so much, Alberto, and above all, thank you so much for all the help The Second Films is giving me, because having my short film travel the world is a dream come true and it’s thanks to you.
You’ve just won First Prize at Centelles En Curt. What has this recognition meant to you, especially since it’s your directorial debut?
Low. Honestly, it was an incredible surprise. For me, it was like that realization that “your short film is being seen, and people are enjoying it.” Something I wasn’t fully aware of yet. And winning this award meant so much to me because it was proof that we’d done something good. In fact, the festival director sent me some lovely messages saying how moved she was, and for me, that’s the real reward: reaching people and touching their hearts. In the end, that’s what I made the short film for. And if it also wins any other awards, well, that’s wonderful, and I’m so grateful.
Now the short film is coming to the Atlàntida Film Fest and Filmin. What do you hope audiences will find when they watch “Yo sí te creo” from home?
Low. I would love to say that no one will relate, but unfortunately, I know that many people will see a reflection of their own suffering. Therefore, what I hope is that when these people see it, they will feel they are not alone and will be encouraged to ask for help and not remain silent, because if they speak out, there will always be someone who believes them. Hopefully this short film will serve as a message and a hug for all of them.
Why do I believe you?
Low. When I wrote this short film, it was simply a ghostly horror sequence that had occurred to me and seemed interesting. But when I decided to film it, I spent a lot of time thinking about why I had written such a scene, and why it affected me so deeply, to see if there was something deeper behind it. And, through introspection, I understood that this scene concealed a lot of pain stored inside me, and that I needed to bring it out and release it. And for me, it has been a very painful but very beautiful process. I find it wonderful to have been able to use the suffering in my life to create something artistic, visually beautiful, and that I believe can help many people. “I Do Believe You” was born precisely from the seed of the fear that others won’t believe what you’re feeling, and I felt the need to demonstrate that what one feels because of pain, or in an anxiety attack, or due to intrusive thoughts or trauma, even if it’s difficult to explain, is VERY real for the person experiencing it. And from here, my message to all those who don’t know how to explain it and feel frustrated, alone, and desolate: I believe you because, in addition, I’ve lived it and I’ve felt it. And I know it’s horrible.
The short film speaks of believing the victims, but it also forces the viewer to constantly question what they are seeing. Was this contradiction a way of making the audience experience firsthand the same doubt that so many victims encounter when telling their story?
Low. Exactly! My intention with the final shot, along with the slightly sinister music of the credits (which was composed by my friend Marc Servera, to whom I am very grateful), is for the viewer to feel how a victim feels: disoriented, without knowing what has happened, or if what has happened is true or not, but at the same time, they have just experienced something very intense and that is undeniable. I like that the short is free to interpret and has an open ending, because this means that each person who, unfortunately, has suffered an episode of violence or an anxiety attack, can adapt it to their own experience.
After so many years working as an assistant director and casting director, what was the most difficult thing about sitting in the director’s chair for the first time?
Low. Being able to focus solely on directing, knowing my team was working tirelessly to ensure everything went perfectly, allowed me to enjoy directing as one of the most beautiful experiences of my life. Sitting down to rehearse with Claudia, my actress, was wonderful because we were able to go through the character’s emotional journey together, and it was like therapy for both of us. We explored very real feelings that can be felt through the screen. And with Jordi, our “abuser,” who understood very well the weight of his presence in this short film, since sometimes it’s not necessary to see so much to convey what’s important. I want to give special mention to the entire team, because without them it would have been absolutely impossible.
Thanks to Ander, my assistant director, who took all my crazy ideas and adapted them into a shooting plan, supporting and believing in me more than I did myself. And to my second assistant, Lluc, for opening her home to us so we could film on a set identical to the one I had envisioned.
My camera team, with Mayans at the helm as my director of photography, who transformed all my thoughts into images in a beautiful and flawless way. Gabi as assistant, Jaume as focus puller, and George as gaffer, were the perfect combo to shoot a nighttime horror scene with a really cool choreography of lights and focus, securing all the necessary resources to make it look gorgeous.
To May, my script supervisor, who was my guardian angel, meticulously ensuring continuity and making everything coherent. I was very worried about everything coming together correctly, and May reassured me throughout the entire shoot.
Merche and Marta, from the art department, recreated exactly the place where I felt at home, with all the things that represented me and where I could see myself reflected. Maria, from the costume department, sent a beautiful message with that purple top, a color of protest, contrasting with the gray tracksuit, representing sadness. Maria showed us that even clothing can communicate and convey a message.
A special thanks to Joana, the makeup artist, who handled some very key aspects of the short film, since a mark on the forehead or sweat can completely change the story. And a big thank you to our production team, Moni, Mónica, and Alba, who made sure the crew was comfortable, well-fed, and had all their needs met.
To Alejandro, who did a beautiful behind-the-scenes photoshoot for us, and thanks to whom we have precious memories of the shoot and images to show how hard we worked and how much fun we had. Also, to Cristian, who took the poster photo in his studio, capturing everything I wanted to convey in the first take. And as a fun fact, the girl on the poster is me; I wanted to make that cameo because this short film is very personal and it’s my way of signing it. Thanks also to my post-production team.
Andrés, my editor, and I sat down together, and for me it was like watching the puzzle take shape and make sense. He understood me very well and very quickly, and it was incredibly easy to work with him. Then, with the sound design, it was also a journey, and actually quite painful, because sound is what gives the short film its meaning and theme.
Berny, my sound designer, did a spectacular job. To this day, every time I watch the short film, it gives me goosebumps. We experimented with real, very intense sounds so that the viewer could feel the rawness we wanted to convey. And he succeeded. Together with David, who was on set capturing the live sound, and Álvaro, who created the musical score, my sound team managed to create the exact atmosphere I wanted. And Jose Bordoy, who gave me one of his own songs, is a perfect fit; it seems tailor-made for the short film.
Thanks to the graphic designers, Cristian the photographer, who took the photo and designed the spectacular poster, and Ondraede, my tattoo artist, who did the drawings for the credits. And the result is impeccable.
And to truly complete the picture, I have to mention my colorist, Gabi, who gave the short film that perfect finishing touch, making it absolutely beautiful. Gabi did an incredible job, dedicating countless hours to it. We sat down together for many days, and she helped me with everything I could no longer manage. When we exported it, I felt like I had given birth to my first baby. A baby that I hope will grow and move people.
After this first short film and the journey it’s having, what kind of director do you feel you want to be? Is there a genre or story you’re eager to explore in your next project?
Low. I feel that my purpose as a director is to make each and every person who works with me feel proud of their work. I think that if that happens, the result is inevitably a success. And we have been able to verify it with “I do believe you.” My biggest concern was that my team was satisfied with having collaborated with me and with this project that was so important to me, and I partly owed it to them that everything turned out well. And well, not even in my wildest dreams, honestly. For this reason, now that I have overcome that fear of jumping into the pool, I really want to get on with the next one and get back to doing beautiful projects with my people. Right now, I want to really enjoy everything that “I do believe you” is giving us, and as soon as inspiration strikes, it will be inevitable to shoot my second short. And I hope many more and, one day, a long one 🙂
An interview by Alberto Peláez Valtuille for The Second Films.
