After an outstanding run at The Monthly Film Festival, Nikita Tsedryk’s ‘STOLEN‘ took home multiple awards, including Film of the Month, Director of the Month, and Screenwriter of the Month. A tense and psychologically layered film, STOLEN begins with a father’s worst nightmare: a missing daughter and a Math teacher who kept her after school. But as the search intensifies, the film leads its protagonist toward a far darker discovery. We spoke with Nikita about the film’s disturbing premise, the emotional and moral complexity behind the story, and the creative process of bringing such a haunting thriller to the screen.
TMFF: Congratulations on the remarkable success of STOLEN, winning Film of the Month, Director of the Month, and Screenwriter of the Month. How has the reaction to the film been so far?
NT: Thank you very much! Your reaction has been absolutely encouraging. Most of the people I initially discussed the film with were from my home country, so obviously I was not certain of how people from other cultures would perceive it. That’s why the positive reception from TMFF means a lot to me. It reminds me that, regardless of where people live, there are certain emotions and experiences that connect us all. I believe that the movie conveys some universal messages like the importance of paying attention to the people closest to us, thinking critically before making judgments and understanding that some hasty decisions cannot be undone.
TMFF: The film begins with a terrifyingly simple premise: a father searching for his missing daughter. What first inspired you to build a story around this kind of nightmare?
NT: One of our primary sources of inspiration was the film Prisoners by Denis Villeneuve. It’s one of my favorite films, and I’ve always been fascinated by the terrifying simplicity of its premise. The fear that comes from losing someone you love is immediate and universal. Of course, we didn’t try to remake the movie, but our main goal was to make the same atmosphere and show what happens to an average person being put in the worst imaginable situation.
TMFF: STOLEN appears to move beyond a conventional mystery or thriller and into much darker psychological territory. How important was it for you to explore the father’s inner world as much as the external search?
NT: To me, the external search and the father’s psychological quest cannot be separated from one another. Extreme situations reveal parts of ourselves that normally remain hidden. As the search proceeds, the father is forced to confront his fears, his rage and ultimately his own decisions. While the story follows the search for the missing girl, it is equally compelling to see how the crisis changes the protagonist himself.
TMFF: As both director and screenwriter, how did you approach balancing suspense, emotional tension, and moral ambiguity throughout the film?
NT: Right from the start, it was clear that the story had to unfold over a very short period of time. A matter of days, or even a few hours. That naturally created a sense of urgency. The characters are constantly under pressure, emotionally and psychologically, which helped generate tension without forcing it. At the same time, we wanted to avoid simple answers. The more desperate the situation becomes, the more difficult it is to separate right from wrong, and that moral uncertainty became an important part of the film’s atmosphere.
TMFF: Was there a particular scene or moment during production that was especially challenging to execute, either emotionally or technically?
NT: The most challenging sequence was undoubtedly the scene in which the father kills the teacher. Emotionally, it’s the climax of the story. Originally it was even darker. In the first draft of the script, the father was supposed to torture the teacher. However, circumstances during production forced us to reconsider the scene and adapt it on the spot. In the end, we only showed the aftermath of the interrogation, relying on sound design and the old lady’s scene to suggest what happened beforehand. In retrospect, I can say that it was a much better solution.
TMFF: You co-wrote STOLEN alongside Alexandra Butor, Elena Sudak, Darya Bobrova, Iuri Mantachik, and Irina Gmir. How was the experience of working with such a large writing team, and how did you make sure all those creative voices came together into one cohesive vision?
NT: The film was developed at Alexandra Butor’s film school, Territoriya Kino, in Minsk. Collaboration plays a fundamental part of the school’s creative process, so working with multiple writers felt quite natural. Sometimes I would strongly defend an idea if I believed a scene needed to work in a particular way. Other times I was happy to step back when someone proposed a stronger solution. We all shared the same goal of telling the best story possible. Apart from writing, we constantly help each other on our projects and work in different production roles. For example, I have experience as a lighting technician, clapper, assistant director, props manager, art director and even an actor. So there is already a strong sense of trust and teamwork that helps bring everything together.
TMFF: What qualities were you looking for in the performances, particularly for the role of the father, given the psychological weight of the story?
NT: I wanted the father to feel thoughtful and emotionally complex rather than simply aggressive or broken. It took us quite a long time to find the actor who would be appropriate for the part, reviewed many possibilities and were almost at a loss. Ironically, the perfect choice was someone we had known for years. Alexander Vaychik perfectly delivered the required depth and managed to transmit it in an absolutely natural way. I couldn’t have asked for a better performance.
TMFF: The film deals with fear, guilt, suspicion, and possibly self-confrontation. What do you hope audiences are left thinking or feeling after watching STOLEN?
NT: These were precisely the emotions I wanted to arouse. Above all else, I wanted viewers to think about the consequences of acting too rashly and making irreversible decisions in moments of anger or fear. At its core, the story is also about responsibility and attention. Much of what happens in the movie results from the lack of attention from a parent, and I hope that people will consider the serious repercussions of such actions.
TMFF: After such a strong festival response, what’s next for STOLEN? Are there more screenings, festival submissions, or distribution plans ahead?
NT: The film has been submitted to various film festivals across the world, and we’re looking forward to seeing where the journey goes next. The goal is simply to share the film with as many audiences as possible and continue the conversations it has started. We’re very grateful for the recognition we’ve received so far and hope this is only the beginning.
TMFF: Are you currently developing any new projects, and do they continue exploring similarly dark or psychologically complex themes?
NT: Right now, I’m exploring ideas for my next film. One way or another, I think my future projects will continue to examine similar themes. I’m always interested in realism and in the way that normal people behave in abnormal situations. Fear, guilt, responsibility and moral dilemma are a part of our everyday lives, so they naturally find their way into my stories.
TMFF: Thank you for your time, Nikita, and congratulations again on the success of STOLEN. We look forward to seeing where the film goes next.
NT: Thank you for watching the film and for your thoughtful questions. It means a great deal to receive this recognition from TMFF. I hope audiences continue to discover STOLEN, and I look forward to sharing future projects with you.
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