Early on in our annual HollyShorts coverage, we spoke about a film by Victoria Warmerdam titled I’m Not A Robot, a delightful and impressive film that talks about the blurring of reality and technology in the form of a failed CAPTCHA test, leading the music producer who keeps failing the test to ask herself about her own existence. Going from an odd kind of joke to an existential crisis, this film is a wild ride that goes on an unexpected journey, earning massive critical praise, and for good reason. We were fortunate enough to be able to talk to Victoria as the film continues on the festival circuit, and is now being given a lot of consideration for awards as they run an Academy Awards campaign in one of the short film categories. A big thanks to Victoria for taking the time to talk to us!
Where did the idea for this film come from?
The idea for this film came from a surprisingly mundane moment—I was struggling to pass a CAPTCHA test online. That got me thinking: what if this was how I discovered I was actually a robot? It started as a funny thought but quickly spiraled into something much deeper—a story about identity, autonomy, and what it truly means to be human. From there, I began crafting the screenplay, using humor to explore these complex themes and bring them to life.
This film takes a unique path towards showing the reliance on technology and the blurred lines of reality and the digital world. why was talking about that subject in particular so important?
For me, this story was less about technology itself and more about how our interactions with it can make us question our own identity. We live in a world where we’re constantly engaging with digital systems that often feel smarter than us—or, in the case of CAPTCHA tests, make us feel like we’re not quite human enough. That tension, between relying on technology and feeling alienated by it, felt like a fascinating space to explore.
The subject also ties into broader themes of autonomy and control—questions that are both deeply personal and universal. I wanted to use humor and absurdity to peel back those layers and ask, in a lighthearted way, what makes us human in a world that’s increasingly digital. I think these questions are especially relevant now, as technology continues to reshape how we live and see ourselves.
Were there any challenges in making the film?
The most challenging part of making this film was definitely the editing process. For a long time, I felt like my own worst critic in the edit suite. During the majority of the edit, I genuinely thought I had made the worst film ever. I even asked my producer at one point: ‘If this doesn’t work, do I have to release it, or can we just put it on the shelf?’
The edit can be confronting because, up until that point, your film exists as this hypothetical, perfect idea in your mind. But when you’re in the edit, it’s just what it is—you have to make the most of what’s there. Comedy adds an extra layer of difficulty because timing is so critical. Sometimes, it comes down to a single frame—one frame more or less can completely change the rhythm of a scene.
In the last days of the edit, we finally found the right flow and balance, and that’s when I started to think, ‘Okay, maybe it’s not as bad as I thought!’ It’s a humbling process, but also one of the most rewarding when everything comes together.
There were also logistical challenges during production. COVID-19 forced us to postpone the shoot twice, stretching the process out by 15 months. By the time we finally got to set, we were all just relieved to start filming! In the end, though, these challenges taught me a lot about patience, persistence, and trusting both the process and the incredible team around me.
This film has gotten a lot of well- deserved critical acclaim. what’s the reception been like for everyone involved?
The reception has been incredible and beyond anything we could have hoped for. From winning awards at major festivals like Sitges, Leuven, and Flickerfest to being shortlisted for the Oscars, it’s been an amazing journey. For me, it’s been incredibly rewarding to see how audiences worldwide connect with the film’s humor and deeper themes.
For the cast and crew, I think it’s been equally validating. Everyone poured so much into this project, and seeing their work recognized on such a big stage has been really special. It’s also been a joy to hear how much people appreciate the performances, the visual style, and even the little absurdities woven into the story.
It’s absolutely surreal—I never imagined that a little idea, sparked by my struggle to pass a CAPTCHA, would land me on the Oscars shortlist. It’s even stirring up patriotic feelings I didn’t know I had. I’m incredibly proud of everyone who made this film possible and of the fact that a film from such a small country as the Netherlands, in the Dutch language, has traveled this far.
The last time a Dutch short in this category made it to the shortlist was in the 1960s (!). I’ve spent years trying to prove that there’s an audience for this specific tone of voice and mix of genres, so receiving this recognition is deeply rewarding.
What is next for you?
I’m currently developing I’m Not A Robot as my first feature film, which feels like the next big step for me as a filmmaker. My dream is to keep telling stories that blend different genres—mixing dark comedy with heartfelt characters—and to connect with even broader audiences. I also hope to continue collaborating with incredible people who inspire me and help me grow in my craft.
Beyond that, I’m excited to keep exploring stories that blend different genres and challenge perspectives. I’m also brewing ideas for an ambitious time-travel movie and, who knows, maybe one day I’ll direct a Bond film with a female Bond! Whatever the project, my dream is to continue connecting with broader audiences while collaborating with inspiring people who push me to grow creatively.
Another big thanks to Victoria for talking to us! Please be on the lookout for more news about this film and many others as awards pushes are made and more incredible films emerge!
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