Bianca Poletti Considers the Art and Everlasting Appeal of the Short

The short film remains a space for radical focus. It’s a format that demands precision and allows for in-depth exploration around a subject or particular emotion.

For Bianca Poletti, it’s more than just a calling card. Her shorts don’t just hint at larger worlds, they build them, often with a dreamlike strangeness and a sensitivity to the unspoken pressures of coming of age.

In 'Video Barn', she channels surreal horror while exploring the power of friendship against the backdrop of a nostalgic video rental store; in 'FaceTweak', she drills into the dark psychological effects of social media, asking what happens when we chase perfection and conform to societal beauty standards.

Taken together, they showcase a filmmaker who isn’t afraid to experiment with genre, tone, and form. Bianca reflects on the making of both films, the emotional truths at their core, and why short form still feels like home.

FaceTweak.

LBB> Did you always know you wanted to be a filmmaker – and what was it about directing that first appealed?

Bianca> Yes, I’ve always wanted to tell stories. I don’t think I knew exactly how I wanted to do that as a kid, but I loved creating my own worlds and sharing them with people. My mum worked a lot when I was growing up to support my sister and me, so I was home alone often, and I got very creative with my time. I would write and star in my own little plays, set up magical tents where I could perform stories for my mum when she got home from work.

As I got older, I really fell in love with photography and the idea of crafting stories visually. I was a huge fan of Tim Walker’s work, he inspired me for many years. But as I continued to grow, I found myself yearning for more story. Photography, especially fashion photography, started to feel a bit empty to me. I wanted bigger worlds to play with, so I shifted my focus to directing. I went to film school, learned a lot, and from there started directing my own shorts, commercials, and I’ve continued on that path since.

What attracted me to directing and storytelling was the feeling you’re left with after watching a film. It’s irreplaceable. For two hours, you get to step into someone else’s life and experience either something completely new or the relief of knowing you’re not alone in what you feel. Film has always made me feel seen, heard, and inspired to explore humanity on a deeper level. I love it so much.

LBB>You’ve released two short films this year – 'Video Barn' and 'FaceTweak'. What drew you to each story, and what inspired their concepts?

‘Bianca> Video Barn' was a project I’d been wanting to make for a while. I love small-town stories, and, of course, female-driven narratives. I had never really tapped into the genre space before, but I knew with 'Video Barn' that I wanted to explore a more surreal side of horror and genre. That’s what draws me to that world: where can the imagination take you? And how can fear arise from something as simple as silence, especially in a world filled with constant noise and distraction? That theme of overstimulation even bleeds into 'FaceTweak' a bit.

'FaceTweak' was inspired by my desire to explore social media, the pressure of it, both the good and the bad – and to ask the question: When is it enough? When do we finally feel beautiful enough, thin enough, perfect enough? Especially when 'perfect' doesn’t even exist. We spend our lives chasing something unreal, losing precious moments along the way, drowning in insecurity, and the internet only amplifies that.

LBB>What do you enjoy about the short film format, especially in contrast to your commercial or music video work?

Bianca> Oof, I love it so much. It lets me explore a concept in a short amount of time, like commercials do, but with more freedom to focus on story. It’s a taste of a world that’s just starting to be explored. For me personally, it’s also a way to dig into a story just enough to see if it’s something I want to continue exploring in a longer format, like a feature film.

Video Barn.

LBB> You work fluidly across genres, but 'Video Barn' dives into horror and 'FaceTweak' into psychological satire. How did playing with genre, especially the supernatural, shape your creative freedom or visual approach?

Bianca>  It was unexpected for me – I never thought I’d dive into the genre world. But I was surprised by how much I loved it, especially when it leans more surreal. There’s so much room to play with imagination when exploring suspense and surreal horror. I’m naturally drawn to stories that feel grounded but have a layer of dreamlike, imaginative strangeness. With 'Video Barn', I really got to dig deeper into that space and see what was possible visually. And now, as I craft the feature version, it’s all feeling even more exciting.

With 'FaceTweak', I always wanted it to lean more into the ‘Black Mirror’ world, so I really loved digging into the dark side of technology and what that looks like.
Both films feel meticulously designed – 'Video Barn' leans into shadowy, atmospheric lighting, while 'FaceTweak' plays with camera angles and overlays to build suspense.

LBB> What were some of the key visual or technical decisions behind each?

Bianca> Gregory Crewdson’s photography was a huge inspiration for 'Video Barn', alongside Videodrome and old episodes of 'The Twilight Zone'. So lighting and crafting retro-but-modern spaces was always essential in building that world. Since it’s a genre piece, I also wanted the visuals to help create a sense of an eerie, abandoned small town, while infusing surreal imagery throughout.

For 'FaceTweak', I was inspired by more coming-of-age visuals, Sofia Coppola’s films in particular, blended with the aesthetics of modern TikTok culture. I wanted it to be shot entirely in one room to reflect the isolation she feels while doom-scrolling, and to explore what happens in the silence of our own spaces.

LBB> Tell me about your casting process for each project. Did you have a clear vision for the protagonists in each story, or was it more about discovering chemistry and presence in the audition room?

Bianca> Yes. For 'Video Barn', I always had Grace and Reina in mind to play the leads. They’re both friends of mine and incredibly talented. It was also really important to me that the two girls had instant chemistry, because at its core, 'Video Barn' is about friendship. Grace and Reina are best friends in real life, so I knew that connection would immediately come through on screen and bring the emotional depth the story needed.

For 'FaceTweak', I wrote it with Bix in mind. She had actually auditioned for a different film of mine, and I thought she was incredible, I knew I wanted to work with her on something else. So I wrote 'FaceTweak' with her specifically in mind, called her up, and luckily, she was into it.

LBB> 'Video Barn' premiered at SXSW this year – what was that experience like for you, and what do you hope audiences take away from your work? Is there anything new on the horizon you can share?

It was really lovely – I love SXSW. It’s one of my favourite festivals, and they did a lot for us this year. We had a special NEON dinner that was incredibly meaningful, and ever since the film premiered there, I’ve had nonstop meetings about the feature version of 'Video Barn', which has been very exciting.

Right now, I’m working on the feature version of 'Video Barn', another feature starring Nikki Lorenzo and John Hawkes, and a new short called ‘YUKI’.