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After We Leave: An Interview with Indie Sci-Fi Filmmaker Aleem Hossain

How much would you risk to get a ticket to a better life? That’s the question at the heart of AFTER WE LEAVE, an award-winning sci-fi indie film by director Aleem Hossain. The film won best feature film at Sci-Fi London, recently played at the Other Worlds Film Festival in Austin, TX, and is slated to play in Hollywood in February 2020. Aleem Hossain chatted with us about the making of his film and what it’s like to create indie sci-fi.

How did you become interested in making films?

I grew up watching Bollywood musicals, Spielberg blockbusters, and European art house cinema. Something about watching that many different cinematic traditions lit a fire inside me to create my own films. I was blown away by all the things cinema could be.

What SF films have most influenced you as a filmmaker?

The three films that made me want to create sci-fi films myself are Kubrick’s 2001, Tarkovsky’s STALKER, and Carruth’s PRIMER. 2001 and STALKER taught me that watching a sci-fi film could be a profound experience. When I was in film school, I saw PRIMER and I realized it was the film I’d been waiting for without realizing it: a sci-fi film that trusted its audience to figure things out. A film that iterated a familiar genre and used it to comment on the human condition. It had been made for $7,000 and was the best movie that came out that year. I saw that film and knew that I was going to make a sci-fi feature.

What inspired AFTER WE LEAVE?

I think one of sci-fi’s greatest strengths is the way it can offer a new way of looking at life right now. The future America we see in AFTER WE LEAVE emerged from the stories my Bangladeshi relatives tell me about the legal immigration process to the U.S. from Bangladesh, where visas are like lotto tickets and can wreak havoc in people’s lives.

Tell us about the lead character, Jack.

I had one of those creative flashes one day sitting in traffic. A man’s face appeared in my mind. I knew he was looking at someone, and the question that arose in my brain was: Has he changed? it was the start of creating Jack Chaney, the lead character in AFTER WE LEAVE.

As I started writing Jack’s story, I realized I was frustrated with other cinematic depictions of very flawed men who somehow achieve huge personal change and are then rewarded in the narrative. I wanted to make a story that reflected my belief about the extent to which people can change and what the results of that change really can be.

How did you create a futuristic feel on a tight, $30K budget?

The primary way I created the future world was not through VFX but through location scouting and framing. Between 80 to 90 percent of what you see in the film was actually there in front of the camera. I scoured Google Street View for hours on end to find places I could piece together to create my decaying, water-starved, permanent recession vision of Los Angeles. There are some scenes where even the shot-reverse-shot in a dialogue scene are in two different parts of the city. VFX adds a very important final layer to the future landscape.

My brother, an accomplished VFX artist, and I had been experimenting for years with ways to bring down the cost of VFX and how to integrate VFX into guerilla style filmmaking. The truth is, VFX have become easier and cheaper than ever before. This doesn’t make them easy to do, but I think more filmmakers should dare to dream to use them. Everything you see in this film was shot on a DSLR or created with Adobe Premiere and After Effects. With the right preparation and approach to shooting, VFX can be used in even small indie films.

Tell us about the shooting of the film.

We decided we would spend as little money as possible, shoot incrementally in between our paying gigs, with a very small crew, and with equipment we owned. That way, we wouldn’t care if the day was wasted, and we could try out the crazy performance ideas or hard to execute shots or steal locations we didn’t have permits for. We would avoid the budget/time pressure that leads low-budget filmmakers to make safe choices, to shoot simple standard coverage because it’s quicker, or to avoid experimenting.

We shot the film over a four-year period. There were days when we got up to catch the sunrise for one shot and then all went to our various jobs and other projects. There were weekends where we shot non-stop for two days straight, running all over LA to steal one interesting location after another. We got harassed by private security guards, rather nicely talked to by the police, and more than once had strangers volunteer to be in the background of shots. I told everyone that on some days we might just get a single shot, or shoot a whole scene that we might throw out and do again. The only cost was time and what we gained was artistic freedom.

What has it been like to show the film at festivals?

I spent a long time working on AFTER WE LEAVE. At a certain point, I forgot that people would actually see the film. So I had this moment, sitting in the theater in London a few minutes before showtime, where it suddenly hit me: Oh man, people are going to watch my film…and have thoughts and feelings about it. And just as that feeling of anxiety was washing over me, the film started.

When the lights came up and it was time for the Q&A, I felt differently. Now, having just experienced the film myself, I was thinking: Oh man, I’m excited to hear what people think and feel about the film. About halfway through the Q&A, five or six audience members were engaged in a healthy debate about the end of the movie, with me just sort of watching, and that’s something I really love about festivals.

How can people connect with you?

If aspiring filmmakers want to hear more about my approach to independent guerrilla production, or if any cinephiles out there want to hear my thoughts on indie sci-fi and diversity in genre films, they can sign up for my newsletter at

Film fans may not realize it, but seemingly trivial things like following someone on social media or signing up for a newsletter are actually real ways of supporting artists. Every distributor I talked to when we were selling AFTER WE LEAVE asked questions about how many people followed me on Twitter or Instagram or subscribed to my newsletter. It’s an easy way you can help those creators make more art.

Aleem Hossain is a film writer-director, virtual reality creator, and assistant professor of Digital Storytelling at Occidental College. He was selected for the initial Oculus Launchpad program run by Facebook/Oculus, where he developed his ongoing documentary VR series I NEVER TOLD YOU. He was a 2017 artist-in-residence at the VR Action Lab where he created NO EASY ANSWERS, a VR anti-bullying project, in collaboration with Google, Harmony Labs, and Screenwriters Colony. He is currently developing YOU ARE FOREVER, YOU ARE EVERYONE, an interactive narrative sci-fi VR experience with the support of the Tribeca Film Institute.


About Michele

Michele has been writing and editing professionally since 1997. In 2017, she launched full-time into her own copywriting and editing business, serving marketing firms, service businesses, nonprofits, book publishers and consulting firms, as well as indie authors. She serves as Editor of the science fiction website and The Fantasy Network News. Michele is also co-founder of Writing Well Creative Writing Workshop and a partner in Three Point Author Services.