Victoria Warmerdam on Academy Awards and automated security measures

Firstly, how does it feel to be an Oscar-nominated director? 

It’s absolutely surreal! I mean, I never thought that struggling with a CAPTCHA test would somehow lead me to the Oscars. And there’s also this unexpected wave of patriotic feelings I didn’t know I had. The last time a Dutch live-action short was nominated was in the 60s, so I’m extremely excited that I can represent the Netherlands this way, with a Dutch language film.

I never thought that struggling with a CAPTCHA test would somehow lead me to the Oscars.

At the same time, at its core, it’s all about telling stories that resonate with people. I’m incredibly grateful that this nomination allows us to reach a wider audience — with the hope of making people laugh, think and maybe see the world a little differently.

Above: A clip from Warmerdam's Oscar nominated short, I'm Not a Robot.

What did you do when you found out about the nomination? 

I was at home with my producer, Trent, actress Thekla Reuten — who plays Pam in the short — and my dog, Bowie. When we heard the news there was a moment of complete disbelief, quickly followed by a lot of screaming. Bowie was probably the most confused of all of us. 

When we heard the news there was a moment of complete disbelief, quickly followed by a lot of screaming.

The nominations were announced so quickly that I found myself thinking, Did that really just happen? It still feels surreal.

Will you be attending the awards and, if so, how excited are you to be there?

Yes, I’ll be there! I mean, how could I not? It’s the Oscars! I’m beyond excited to take it all in — to be in the same room as so many filmmakers I admire, to celebrate with our team. It’s already more than I ever could have imagined, and since it’s a once-in-a-lifetime opportunity, I’m just going to soak it all up and enjoy every moment.

Above: A struggle with a CAPTCHA test was the starting point for I'm Not a Robot.

Where and how did the idea for I'm Not a Robot formulate?

The idea first sparked four or five years ago from something pretty mundane — I was struggling to pass a CAPTCHA test online. That got me thinking: What if this was how I found out I was actually a robot? That small thought quickly spiralled into a much bigger story about identity and what it truly means to be human.

There was a moment where I genuinely thought I had made the worst film ever — I even asked my producer, ‘If this doesn’t work, do I have to release it, or can we just put it on the shelf?’. 

From there, I started developing the screenplay, relying — as always — on humour to explore deeper themes. I already had the amazing Ellen Parren in mind for the lead role, so I actually reached out to her before I even started writing. I find it so much easier to write with a specific actor in mind rather than trying to fit someone into a character later on. It took us quite some time to actually shoot this film because Covid happened in between.

What was the biggest challenge when shooting the film?

The biggest challenge was definitely the editing process. For a long time, I felt like my own worst critic in the edit suite. There was a moment where I genuinely thought I had made the worst film ever — I even asked my producer, ‘If this doesn’t work, do I have to release it, or can we just put it on the shelf?’. Editing comedy is particularly tricky because timing is everything. Sometimes, just one frame more or less can completely change the rhythm of a scene. The film existed as this perfect idea in my mind, but in the edit, you have to work with what you actually have. That can be confronting.

That said, the last days of editing were when everything finally started to come together, and I realised, okay, maybe it’s not as bad as I thought! It was a humbling but ultimately rewarding process. It taught me to trust the process — and to rely on the more experienced people around me.

Above: Director Victoria Warmerdam, who is adapting I'm Not a Robot into a feature film.

I'm Not a Robot won a number of Gold Screen awards, as well as the Special Jury Prize at last year's YDA; was that a special moment? 

Absolutely! Winning multiple Gold Screen awards and the Special Jury Prize at the Young Director Award was an incredible honour. It’s always special when your work connects with audiences, but having it acknowledged at such a prestigious level was truly rewarding. It reaffirmed that there is space for this mix of absurdity, comedy and deeper themes in filmmaking, and that’s something I’ve been trying to prove for a long time. It was a huge moment, not just for me but for everyone involved in the film.

The YDA has opened so many doors for me on multiple levels.

Thanks to the YDA, I met the amazing producer Rebecca Bourke, whom I now consider a friend. She introduced me to my current agent in the UK, Ian Benson, and through the YDA I also connected with an international production company for my commercial work. The YDA has opened so many doors for me on multiple levels.

Does winning an award give you encouragement to keep entering work to other awards, and how important are these shows to filmmakers?

Winning an award is definitely encouraging, but for me, the real value lies in how it helps the film reach a wider audience. Awards and festivals give your work visibility, and that can open doors — whether it’s connecting with other filmmakers, meeting potential collaborators or even helping the film find distribution.

That being said, I try not to let awards define the worth of a project. Filmmaking is such a subjective art form, and what resonates with one jury might not land the same way with another. Of course, winning is amazing and brings industry recognition, but at the end of the day, what truly matters is telling stories that resonate with audiences — offering them connection and solace through comic relief.