Have you ever looked into someone’s eyes and wondered what their story might be? Director Leve Kühl has and in Through My Eyes, his UNHCR Hope Away from Home campaign film, audiences are invited to see the world through the perspective of Amira, a woman fleeing her homeland. Using kinetic, point of view camerawork, alongside a transportive soundscape, we are thrown directly into the chaos of an unnamed war-torn land, aligning viewers with the pain and hardship of displacement and the remarkable strength of those who endure it. This is a short that harnesses film’s unique ability to educate through immersion, pleading for us to readjust our perspective of the refugee label and to see the humans behind the stories not just as humans who have relocated but humans with feelings, humans with families and humans with futures. Moved by this powerful call to recognise the humanity in those seeking safety, DN sat down with Kühl to learn more about creating a film for UNHCR, the challenge of predominantly shooting POV sequences and the importance of shifting our perspective on the unjustly pejorative label of ‘refugee’.
How did you become involved in this project?
Together with UNHCR, we just wanted to offer a different perspective in a very heated debate about refugees and migration. And while we may never fully understand someone else’s experience, I thought perhaps the first step is trying to see the world through their eyes.
Through My Eyes was impressively shot entirely on location. How long did the production take, and what challenges did these locations present?
We shot for eight days abroad and one day in Berlin. Filming in a foreign country is never easy – there are always unexpected obstacles, from logistics to cultural differences to the simple reality of being an outsider in a place you’re trying to portray authentically. But our producers, Jacob Burckhardt, Julian Sünram, and Niklas Straub, did an incredible job making it all work, and we were lucky to have an amazing local crew who really made the impossible possible.
You’ve mentioned that the UNHCR team placed complete trust in you during the making of this campaign film. How did having that creative freedom aid your process?
Their trust meant everything. They’re the ones on the ground and their connections helped us reach the right people to ensure authenticity. It’s rare to work with a client who truly believes in the vision and gives you the confidence to take risks.
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Your pre-production process involved extensive research. How did this inform and shape Amira’s narrative?
We approached the research with a lot of care, always prioritizing safety. It was important to make sure no one’s well-being was put at risk by sharing their story. That’s why Amira’s journey isn’t just based on one person – it’s a combination of many different experiences. We wanted to reflect their strength and resilience while also not sugarcoating the reality they face.
The film foregoes dialogue in favour of a rich, immersive diegetic soundscape. What was your experience like collaborating with Thore Kühl, Ballad, and Adrian Aurelius on the sound design?
The sound design was just as important as the visuals. While the film is called Through My Eyes, we felt it was just as crucial to tell the story through ‘ears’. What does it really sound like to be in these moments? POV isn’t just about where the camera is – it’s about creating a whole environment. Working with Ballad and Thore, we focused on building a soundscape that felt real, and I am really grateful they gave it their all.
That’s why Amira’s journey isn’t just based on one person – it’s a combination of many different experiences. We wanted to reflect their strength and resilience while also not sugarcoating the reality they face.
This soundscape is beautifully underscored by Adelle Nqeto’s rendition of The Wayfaring Stranger. What led you to this musical choice?
We didn’t want the music to tell people how to feel. The humming actually just happened – Adelle was warming up her voice, and it instantly reminded us of a mother soothing her child. It felt so natural that Alex Wolf David (the composer) and I decided to keep it. The song itself just fit. The lyrics and the fact that its origins aren’t totally clear – it blends influences from America, Europe, and Africa, which ties into the whole idea of how different cultures shape and enrich each other.
Much of the film is experienced through Amira’s point of view. What inspired this creative decision?
There’s always a distance between us and stories like this – we read about them, see them in the news, but they remain other. With POV, we take away that distance. You don’t just watch Amira’s journey, you experience it with her. She’s someone who gives, who adds to our communities, and that’s just as much a part of her story as having fled.
There’s always a distance between us and stories like this – we read about them, see them in the news, but they remain other.
Was directing actors to interact with a point of view camera challenging?
Yeah, it was tricky. The camera doesn’t act back, so the actors had to adjust. That’s why it was so important that Jona Riese, our DP, built a good relationship with them. Denise M’Baye, who plays Amira’s mother, did an amazing job of adapting to the camera like it was her daughter and was a dream to work with. In real life, people don’t always interact with you directly, we spend a lot of time just observing others. That’s why we alternated between raw POV moments and more observational shots that still feel subjective.
The aim of the film is to help audiences change their perspective on the word ‘refugee’. How have audiences responded to Through My Eyes?
UNHCR showed the film to refugee focus groups, and the response was overwhelming. This film isn’t aimed at refugees. They know their stories, and more importantly, they have their own voices; they don’t need me to speak for them. What I tried to do is speak to people like me, comfortable in their living rooms, and I hope I’ve played a small part in shifting our perspectives.
Finally, what can we look forward to seeing from you next?
I have two projects in pre-production and one in post. I’m also in talks to finally make one of my childhood dreams happen, something with a bigger narrative arc. I’m excited for what’s ahead, but I also just want to take a moment to say thank you to all the insanely talented people who’ve been part of this journey with me. None of this happens alone.
