Few short films successfully intertwine the immediacy of sociopolitical realities with the immersive qualities of cinematic storytelling, yet A LIEN, directed by Sam and David Cutler-Kreutz, accomplishes precisely that. This compelling work, which chronicles the distressing odyssey of an immigrant couple ensnared in the convoluted mechanisms of the U.S. immigration system, has earned widespread critical acclaim and, notably, an Academy Award nomination. In an exclusive dialogue with The Cinema Group, the visionary sibling-directors illuminate the intellectual and emotional impetus behind their film, the meticulous craftsmanship that underpins its thriller-infused aesthetic, and the vital necessity of exposing the inhumane dimensions of bureaucratic inertia.

The Semiotics of A LIEN

The title of the film operates on multiple semiotic levels, embodying a conceptual duality that is integral to its thematic essence. “The word can be interpreted as alien, invoking the dehumanizing terminology often associated with undocumented immigrants, or as a lien, a financial term denoting the legal claim to one’s property,” Sam elucidates. “This dual meaning underscores the film’s fundamental themes—alienation, loss, and the inexorable mechanisms of state control that strip individuals of their agency.”

David expands on this notion: “We wanted a title that was instantly evocative, that would prompt critical thought before the film even began. It encapsulates both the systemic entrapment faced by immigrants and the underlying existential dread—the precariousness of their legal standing, their vulnerability to the machinery of enforcement, and the specter of forced separation.”

Constructing a Cinematic Bureaucratic Dystopia

From its inception, A LIEN was designed to be an unrelenting exercise in tension-building, immersing audiences in the pervasive anxiety that defines its characters’ lived experience. “We aimed to create a film that exerted a near-hypnotic grip on the viewer, something that one simply cannot look away from,” David asserts. “We drew inspiration from the suffocating urgency of the Safdie Brothers’ work, but within a deeply political and all-too-real context.”

The film’s tonal intensity was amplified by deliberate stylistic choices. “The sterile, institutional color palette was essential,” Sam explains. “Every aspect of the USCIS office—the beige walls, the cold fluorescent lighting—was designed to evoke both the banality and the quiet menace of bureaucratic spaces.”

The cinematographic approach was equally instrumental in cultivating the film’s harrowing atmosphere. “We employed a deliberately claustrophobic framing, confining our characters within the frame in a way that visually reinforces their entrapment,” Sam continues. “The result is an aesthetic that not only sustains the film’s relentless tension but also embeds the audience directly within the psychological experience of the protagonists.”

Pursuing Verisimilitude: Performance and Production Design

The film’s sense of authenticity was paramount, with extensive efforts devoted to ensuring both the credibility of its performances and the realism of its settings. “We conducted an exhaustive casting process to find actors who could bring an organic depth to their roles,” David reveals. “It was imperative that they internalize their characters’ histories, that they understand the lived realities they were embodying.”

Location scouting was another essential component. “Finding the right space to approximate a USCIS office was an arduous process,” Sam recounts. “We spent close to eight months searching before we found a location that conveyed the impersonal, labyrinthine quality we needed.”

That diligence is reflected in the film’s immersive realism. “The environment itself becomes a character in the film,” David asserts. “It mirrors the psychological state of the protagonists—sterile, indifferent, and inescapable.”

The actors’ performances were integral to this approach. “Will and Victoria, our leads, brought an extraordinary depth of emotion to their roles,” David praises. “Their ability to navigate the film’s shifting emotional landscapes made every moment feel immediate and raw.”

The Political Ramifications of A LIEN

Beyond its narrative, A LIEN operates as an incisive critique of contemporary immigration policies and their human consequences. “We’ve received an outpouring of responses from individuals who have endured similar ordeals,” Sam notes. “Their accounts mirror the fear and uncertainty that permeate the film.”

David highlights the systemic dysfunction that A LIEN lays bare: “One of the most disquieting realities we uncovered in our research was the profound institutional disconnect. USCIS officers, whose function is ostensibly administrative, are often oblivious to the enforcement actions of ICE. This fragmentation allows for a system that perpetuates fear without direct accountability.”

POPULAR ON THE CINEMA GROUP

The filmmakers engaged in rigorous research, consulting both immigration attorneys and former government officials to ensure an accurate depiction of procedural realities. “What became evident was that even those within the system frequently struggle with the policies they enforce,” David reflects. “There’s a pervasive sense that the system has been designed to function without empathy.”

The Road to the Academy Awards and Beyond

With A LIEN securing an Oscar nomination, the directors find themselves at a pivotal juncture in their careers. “The recognition has been overwhelming,” David acknowledges. “But more than anything, we’re grateful that the film is resonating with people on a profound level.”

Looking ahead, the filmmakers are expanding their vision. “We’re deep into development on our first feature,” Sam reveals. “It builds on the themes and stylistic approach of A LIEN, but with an even more expansive scope.”

Additionally, the duo has recently completed another short film, Trapped, which has garnered accolades at South by Southwest and Palm Springs. “It’s another high-stakes, emotionally charged story,” David explains. “We’re committed to telling stories that engage audiences viscerally while prompting urgent societal conversations.”

As the awards season unfolds, one certainty emerges: Sam and David Cutler-Kreutz have established themselves as formidable voices in contemporary cinema. Their work transcends entertainment, serving as both a narrative and a call to action. By shedding light on systemic injustices, they ensure that their stories—and the voices of those they seek to represent—reverberate far beyond the screen.

Read Our ★★★★½ Review

Full Interview Transcript

Interview with Sam and David Cutler-Kreutz on A LIEN
Conducted by Jonathan P. Moustakas for The Cinema Group
February 12, 2025

Jonathan P. Moustakas: So, welcome. I’m Jonathan from The Cinema Group. Today, I have the pleasure of speaking with the filmmaking duo behind the Oscar-nominated short A LIEN—the brothers Sam and David Cutler-Kreutz. Thank you both for joining me. I saw the film last night in New York and found it incredibly moving—deeply unsettling and beautifully executed. I’m happy to speak with you today.

Jonathan P. Moustakas: Sam, I wanted to start with you. The title A LIEN seems to have a few different meanings—it can refer to “alien,” as in an immigrant, or “a lien,” in the financial sense of being repossessed. Was that something you consciously considered when choosing the title? Does it reflect the film’s core themes, or was it meant to leave room for interpretation?

Sam Cutler-Kreutz: Yeah, titles have power. David and I don’t always start with a title, but often in the process, one jumps out at us. With this one, the play on words—Alien and A Lien—felt like it encapsulated many of the film’s themes. The division within the title itself reflects the separation and tension in the story.

Jonathan P. Moustakas: When structuring the film, did you always intend for it to lean into a thriller aspect? The anxiety and tension in the film reminded me of a Safdie Brothers project—was that a deliberate stylistic choice, or did it evolve during production?

David Cutler-Kreutz: We knew from the beginning that we wanted a film that you couldn’t take your eyes off of. That sense of urgency was always key. We wanted it to be intimate and claustrophobic. The anxiety really emerged as we developed the characters. Even during production, we found ways to enhance that tension—for example, using tighter lenses to obscure the background, making everything feel more confined. When we saw the first cut, we realized how much stress was baked into the film, even beyond what we initially wrote.

Jonathan P. Moustakas: Speaking of improvisation, did you feel confident with your lead actors being able to pivot as needed? Their chemistry was so palpable that it felt like I could watch them do anything. Was there a strict structure, or did you allow room for the story to evolve through performance?

Sam Cutler-Kreutz: Will and Victoria are both amazing actors. We spent a lot of time before shooting, diving into their characters' backstories. We also worked closely with the rest of the cast, making sure everyone understood their roles and motivations. That allowed us to run the scenes naturally. It gave the film an almost documentary-style authenticity, but we didn’t improvise much—everything was structured.

David Cutler-Kreutz: Yeah, for example, we actually shot the ending twice. After reviewing our footage from the first two days, we realized we needed a stronger take. Will had another gig in between—he was literally filming Law & Order: SVU—so on day four, we reshot some elements of the ending. The final version is a mix of both shoots.

Jonathan P. Moustakas: That’s interesting. The film also touches on the inner workings of immigration enforcement. In your research, did you find that some officers had sympathy toward immigrants, or did most just view it as a job?

David Cutler-Kreutz: Many officers see their job as just that—a job. They put on their professional hat and do what’s required. The difference between a private citizen’s beliefs and a government official’s duty can be vast. That’s something we tried to reflect in the film—how individuals within the system often don’t communicate with one another. We read cases where USCIS officers would tell applicants, “Congratulations, you’ve been approved,” and then ICE would be waiting outside to detain them. The system is disjointed.

Jonathan P. Moustakas: There’s a moment in the film where Oscar’s pride is evident—he says, “I snuck into Mets games as a kid, I’m a New Yorker.” That line resonated deeply. Do you think fear of deportation will deter people from going through the legal process?

Sam Cutler-Kreutz: That uncertainty is a major theme. Many people go through the process without issues, but others face unexpected consequences. The fear of not knowing is paralyzing, and that’s what we wanted to capture.

Jonathan P. Moustakas: I want to highlight the visual and sound design. The USCIS office felt sterile, almost lifeless. Was that achieved through location, lighting, or post-production?

David Cutler-Kreutz: It was a mix. We shot in a college in New Jersey but leaned into the building’s natural taupe tones. We enhanced that in post with a subtle bleach-bypass look. Sound was also crucial—mechanical noises replaced organic ones as we moved deeper into the building, making everything feel suffocating.

Jonathan P. Moustakas: Adam McKay came on board as an executive producer. How did that happen?

Sam Cutler-Kreutz: Adam saw the film after its festival run and was really struck by it. He wanted to support it, and we’ve been lucky to have him and Hyperobject involved.

Jonathan P. Moustakas: Now that A LIEN is Oscar-nominated, has it opened new doors? What’s next?

David Cutler-Kreutz: We have another short, Trapped, which won at SXSW. And we’re in deep development on our first feature. If you liked A LIEN, we think you’ll love it.

Jonathan P. Moustakas: Sam, David—thank you. A LIEN is a powerful film. I encourage everyone to see it.

Sam & David Cutler-Kreutz: Thank you so much!