Initiating a conversation about the LGBTQIA+ experience in Poland, director Ben Galster captures a cinematic portrait of Warsaw-based queer photographer Leo Maki in the short film The Hidden Dimension. Illuminated by colour, Maki’s work challenges traditional male stereotypes through the themes of intimacy, desire, and eroticism – yet, in recent years, his native Poland has seen a marked escalation in anti-LGBT hate speech. Created with the Berlin-based queer platform “Container Love”, The Hidden Dimension takes an intimate journey into Maki’s daily life, creative practice, and experience of his craft against the landscape of a country where same-sex civil unions remain outlawed. Highlighting the importance of queer spaces in adverse contexts, and the beauty and complexity they give life to, Galster navigates prejudices and gaps in understanding imposed on LGBTQIA+ communities across the globe – and the self-created sense of safety and empowerment achieved through creativity. Considering the impact of adversity, and the emergence of self-expression against the odds, The Hidden Dimension sheds light on action still needed to further LGBTQIA+ rights, stressing that queer identities matter, exist, and must be a key consideration for the creation of democratic, safe societies.
Niccolò Montanari: Can you share with us what has led you to the creation of The Hidden Dimension? Who did you collaborate with? And what inspired you to delve into the world of photographer Leo Maki?
Ben Galster: Christian Ruess, who runs a boutique agency focusing on diversity and queer identities, has been discussing a new Container Love film with me for a while. Last year we shot the portrait series Love Has No Label for the platform, which was co-produced by Iconoclast X and was also shortlisted for the Iris Prize. The work of Leo Maki has been featured multiple times on the platform and we initially casted a few different people, but it was clear that we wanted to make a film about him. The fact that he is a queer artist in a conservative and very religious country gives him a unique perspective. He is also a fascinating photographer with imagery that is bold and unapologetic. The raw emotions and vulnerability of Leo highlight the transformative power of art and self-acceptance. Hopefully, the story stands as a testament to the universality of human emotions and the shared quest for identity.
NM: Can you share insights into your creative process? Take us through the narrative style and stylistic choice you made.
BG: Actually in a very classic way, through a well-crafted story and meaningful pictures. Once we achieved that, we started to carefully dismantle the classic portrait format and moved into a more abstract and surreal direction making sure we were not losing the emotional connection. I am very grateful for Leo’s trust and for granting us limitless access to his life. We wanted to create a film that is full of poetic imagery and references to the character’s personality, which gives the narration a deeper meaning. Whether this is a faceless figure disappearing in the dark night when Leo talks about opening up and leaving his old self behind like a shadow, or a couple kissing in the dark forest because they can’t show affection on the streets.
Another scene of the film features footage of the film Fantastic Planet playing on a TV in the background. René Laloux’s 1973 film, a story about being suppressed and living under occupation, is one of Leo’s favourite films. Merging different styles and techniques was key in capturing the dreamy nature of the story we wanted to tell. While we used pre-planned VFX shots, we also turned to AI techniques such as Point Clouds, Manual Distortion, and EbSynth for more abstract elements. We had to do a few rounds to get the look and feel right without overloading the film. I love the destructive and raw quality that the Grotesk Group created with their work. The archive footage is from a real anti-pride demo in Warsaw and had to be sourced and licensed, which was not easy. State television is not too keen on licensing this sort of material. Joseph’s colour grading at Company 3 gave the film a unified look. We talked a lot about the contrasts in the creative process and daily life. We wanted to allow the brighter scenes to really pierce through and have that serene quality that really juxtaposed the darker interiors and urban environments. On the aesthetic side, I think a bit of range is always good as it keeps the film energetic and impactful.
NM: How did you make sure your directing approach aligned with Leo Maki’s photographic style?
Stylistically, we were not that far apart. His work is quite cinematic and influenced by classic art house films. We started with the colours of his pictures, such as orange, blue, and red. The cinematographer, Bernhard Russow, then created a look that reflects this throughout the film. The aim was an edgy and raw style that is not too polished and matches the subject matter. Leo is also a night owl, so we therefore shot nearly the entire film during the night. This was not always easy, as the shoot took place in the hottest week of the year with the most daylight hours.
NM: How did you craft the script and integrate it with the appropriate sound design?
Working with real stories is always special. Having Leo as the main motive of this short and portraying his real life is, as a director, honouring but at the same time a big responsibility. We conducted several interviews with him beforehand, which served as a blueprint for the script. I think we spent two months from first casting to shoot. The editor David Fabra has also done a fantastic job in bringing the story to life and tightening where needed. The film is so well paced and surprising. Every time you think you know what’s coming next a new chapter opens. Like a train of thought, playfully connecting different aspects and jumping fluidly through different scenarios, but still retaining a strong and coherent storyline. We had a close collaboration with the composer Gordian Gleiß of 86Tales and Dennis Beckmann who did the SFX to create a score that embodies Leo’s journey, drawing inspiration from modern electronic soundscapes.
NM: What were the main challenges you faced? And how did you overcome them?
It requires a lot of sensitivity and carefulness, especially when the working context could be hostile. We had scenes that we could not film due to safety concerns. When shooting documentaries there are always eventualities of all kinds. While shooting a scene at Leo’s place, a large anti-Pride demonstration was marching down the street. It was the same day when queer people were shot during Pride in Oslo. As we were reading the news, we knew exactly why we were working on this film.
NM: The Hidden Dimension is being screened internationally across the film festival circuit. What has the feedback been so far?
The feedback has been fantastic. Albeit the festival reception so far has been predictably better in the West than the East. You never really know in advance as there are so many socio-political factors playing a part that you cannot foresee and we knew that the film would not please everyone, but who wants that anyway. We set out to make an unconventional portrait that is provoking, honest, and to a degree confrontational. Winning silver at the Young Director Award in Cannes and best Cinematography at the Berlin Commercial has been absolutely amazing. Right now we are looking forward to having the German Premiere at the 57th HOF International Film Festival. Fingers crossed there is a lot more to come.
NM: What are you working on next?
As a director, you always have a few things cooking at the same time. I just started working on two narrative projects. One is a queer-themed long-format documentary, which I am developing with Container Love, and the other one is a short film set in the States in collaboration with a UK production company. I fill the downtime with shooting commercials and music videos.