The Soul Behind the Robot: Talking with Victoria Warmerdam

It feels like it was just yesterday, but in reality, a month and a half has already passed since the last Oscars ceremony. During it, the SITGES brand experienced one of the highlights of its recent history, witnessing I'm Not a Robot by Victoria Warmerdam — awarded Best Short Film in the Official Fantastic Competition Section at the 2023 edition — triumph with the golden statuette for Best Live Action Short Film.

Because when we say that the Sitges Festival is a qualifying event for the Academy of Motion Picture Arts and Sciences for the Oscars [the winning short films in the fiction and animation categories are automatically shortlisted], this is exactly what we mean.

The occasion clearly deserved a reunion with the main architect behind this glorious moment. Up next, an in-depth interview with "the one and only" Victoria Warmerdam: a journey through her artistic concerns, what defines (and will define) her filmography... and, of course, her -fantastic- relationship with our Festival.

Tell us about the origin of the project. Where did the inspiration for I’M NOT A ROBOT come from?

The idea actually came from a very mundane moment. I was trying to pass a CAPTCHA test online and kept failing. That sparked a strange thought: What if this was how I found out I was actually a robot? It was such a fun premise, but it quickly led me to bigger questions about identity, control, and what it really means to be human.

From there, the story grew into something much darker and more layered. It became about a woman who starts to question the reality around her and her own sense of self, almost like a Truman Show-style awakening.

I used humor as an entry point, but underneath the absurdity, it’s really a story about free will, perception, and the fear that your life may not entirely be your own. That contrast—between comedy and existential unease—is something I love exploring.

Looking at your filmography, it’s clear that you often focus on the anguish of being different; that feeling that the way you perceive yourself might not be the same way others see you…

Yes, that’s definitely a theme I keep coming back to. I’ve always been fascinated by the moment when you realize the world isn't what you believed it to be. It taps into a deep fear I have — the fear of losing my grip on reality.

At the same time, it's also about perspective. As human beings, we tend to adopt the viewpoint of the majority, but who’s to say that’s the "right" one? The tension between personal truth and collective perception is something I find endlessly compelling.

In this possible awakening of consciousness, you’ve previously invoked a certain fantastic aura. Tell us about your relationship with genre cinema. Who are your influences?

I’m definitely drawn to stories that blur genres—especially those that blend the absurd or fantastical with something deeply human. I love using surreal or heightened elements as a lens to explore real emotions and big questions. That slight shift away from reality often gives you the freedom to express things that can be harder to articulate in a strictly realistic setting.

As a teenager, I was obsessed with the fantastical world of Donnie Darko. Discovering the work of Charlie Kaufman later on really opened my eyes to how absurdity and heartfelt, relatable characters can coexist so beautifully. More recently, at Sitges, I saw Dream Scenario by Kristoffer Borgli, which felt very Kaufman-esque, yet still painfully relatable in its own right.

I’m also a huge admirer of Danish filmmaker Anders Thomas Jensen—Adam’s Apples, The Green Butchers, Riders of Justice—all brilliant examples of genre-blending with a sharp, darkly comedic undertone.

When I’m developing a project, I don’t necessarily think in strict genre terms. But I always aim to create something that feels a little off-kilter, yet still emotionally grounded. Genre cinema gives you that unique space to be both playful and meaningful.

Ellen Parren’s performance as the protagonist of I’m Not a Robot is incredible — portraying a woman who suddenly falls into a deep existential crisis. Tell us how you worked together to build this character.

Ellen had been on my radar for a long time because of her brilliant comedic timing and her ability to approach comedy with total seriousness—which was exactly what this role needed. In fact, I reached out to her even before I started writing the script. I knew from the start that she was the right person for this part, so I wrote the character with her voice and energy in mind.

When I write, I always try to imagine specific actors in the roles. It helps me craft more authentic dialogue and lean into their strengths. Ellen brought so much nuance to the role—balancing the absurdity of the situation with a grounded, emotional core. The situation her character faces might be surreal, but for her, it’s very real, and Ellen played that tension beautifully.

Our collaboration felt very natural. She completely understood the tone I was going for: that mix of deadpan humor and emotional depth. It was a joy to build this character with her.

What does this short film tell us about the role and position of women in modern society?

When I started writing the script, themes like bodily autonomy, control, and the search for self-determination naturally began to weave their way in. On an abstract level, these ideas relate to robots, but at the same time, they still very much reflect the experiences women face in our society today. That parallel emerged organically. Women continue to grapple with issues of autonomy and ownership over their own bodies, and the influence of the patriarchy is a constant undercurrent.

Moving on to Sitges, tell us about your experience with the Festival. First, what was the film’s journey, and how did it end up at our Festival?

Sitges was actually one of the key festivals in our initial festival strategy. My producer Trent (OAK Motion Pictures) had mapped out a festival circuit, and Sitges was right at the top of that list. It felt like the perfect match for I'M NOT A ROBOT because of the festival’s unique focus on genre(-blending) films. 

I was absolutely over the moon when we got the news that our short had been selected for its world premiere—especially because we had tried with my previous two shorts but hadn’t made it in before. As a genre film lover, Sitges was always the dream. We immediately booked an extended trip to Sitges so we could not only attend the premiere but also fully dive into everything the festival had to offer.

What did you feel when you were told that I’M NOT A ROBOT would be part of the Official Selection’s short films?

It was such an honor—and honestly, a bit surreal. Sitges is one of those festivals you dream about being part of, especially when you’re working within genre cinema. To have I’M NOT A ROBOT selected for the Official Selection felt like a huge validation of the tone and voice we’d been working so hard to establish.

Knowing that the film would premiere internationally at a place like Sitges, where the audience is so passionate and open to bold, unusual storytelling, was incredibly exciting. It gave us a real sense of momentum and belief that there is space out there for this kind of absurd, emotional, genre-blending work.

The screening at the Auditori, being in direct contact with other filmmakers… what was your experience like during the Festival?

The experience at Sitges was truly unforgettable. The audience at the Auditori was incredibly engaged, responsive, and generous. They were cheering, applauding, even screaming—it’s the kind of energy you dream of as a filmmaker. Sharing the film in that space, with people so passionate about genre cinema, was just amazing.

It was also such a joy to be surrounded by other filmmakers who share that same love for the genre. I attended several screenings, not just to watch the films, but to experience that incredible audience energy. There’s nothing more beautiful than feeling completely connected to a room full of people, all sharing the same love for cinema.

We understand that among the audience at the screening of I’M NOT A ROBOT was Marc Mounier from Entertainment 360, who, upon witnessing the audience’s reaction, became convinced that they had to support the film in its run for the Oscars.

It’s true that Marc was in the audience. He came up to me afterwards and insisted we have lunch together. We really clicked, and I sent him some of my other work. That led to us deciding to work together—even before the film won a few days later and officially qualified for the Oscars. That really says a lot about him: he believed in the film even without the Oscar-qualifying stamp.

Marc has meant so much to the film throughout its Oscar journey, and we’re endlessly grateful for everything he’s done. Under his guidance as my manager, I’m now exploring the American film industry, which is incredibly exciting. Without Sitges, I might never have crossed paths with him.

And beyond Marc, Sitges also helped us connect with our sales agent, Premium Films, who have played a huge role in giving the film international visibility. Sitges truly opened so many doors for us, and it will always hold a very special place in my heart.

Let’s talk about the awards at the 56th edition: what did it mean to you to win the Best Short Film Award in the Official Fantastic Competition?

Winning Best Short Film at Sitges was an incredible honor—especially because it was our international premiere. I truly didn’t expect it at all; I was worried the film might not be “fantastic” enough for the competition. That recognition meant so much, not just to me personally, but to everyone who worked so hard on the film. 

On a practical level, the award made I'M NOT A ROBOT Oscar-qualifying, which completely changed the film’s trajectory. But emotionally, it was a moment I’ll never forget. Sitges gave us that first big push, and I’ll always be deeply grateful for it.

And from there, to the Oscars. Tell us about your film’s journey between Sitges and Los Angeles.

Sitges really kickstarted everything for us. From there, we followed a festival strategy focused on Academy Award® Qualifying festivals like Leuven and Flickerfest, and that helped build visibility and credibility. We also screened at a wide range of other festivals around the world—from Palm Springs to Bucheon to Aesthetica—and the response was overwhelming.

Eventually, the film made it to the Oscars shortlist, which felt surreal. It all started with this little idea during a CAPTCHA test, and suddenly we were in Los Angeles, representing the Netherlands with a Dutch-language short—the first one to be nominated in this category since the 1960s. The journey from Sitges to the Oscars has been beyond anything I could have imagined.

image courtesy of the Academy of Motion Picture Arts and Sciences

What does winning the Oscar mean to you? And for genre cinema? It’s not very common for a science fiction piece to go so far in awards season.

Winning feels absolutely surreal and amazing. The fact that a genre-bending short film could make it this far is not only incredible for me personally, but also a win for genre cinema as a whole.

I’ve spent years trying to prove that there’s an audience for this specific tone of voice, so receiving recognition at this level really reaffirms that there’s space for genre cinema that dares to be different. It shows that genre films can not only exist, but truly resonate with audiences on the biggest stages.

And what now? We assume that after enjoying your well-deserved success, it’s time to get to work on the next project. Do you already have something in the works?

Yes! I’m currently developing I'M NOT A ROBOT into a feature film, which feels like the natural next step in this journey. Expanding the story and diving even deeper into its themes is incredibly exciting.

Beyond that, I have a few other projects brewing—a surreal fantasy feature, an ambitious time-travel film, and I'd love to explore the action-thriller genre at some point.

Right now, my focus is on continuing to tell stories that blend genres and on collaborating with people who inspire me and challenge me to grow as a filmmaker.

So yes, after all the excitement, it’s back to writing—and honestly, I wouldn’t have it any other way.