Short Film ‘Bloom’ Explores the Human Relationship with the Natural World

Have you ever heard of the biophilia hypothesis? It’s a concept which suggests that a connection with nature is something humans will innately seek out. As Britannica puts it, “Anecdotal and qualitative evidence suggests that humans are innately attracted to nature. For example, the appearance of the natural world, with its rich diversity of shapes, colours, and life, is universally appreciated. This appreciation is often invoked as evidence of biophilia.”

Whether your own personal experiences align with this concept, or not, there’s no denying that for some, the call of nature can be deeply profound. Case in point, when the pandemic hit, Boldly director Kasey Lum became fixated on his Fiddle Leaf Fig plant – an experience which would ultimately change his worldview. A simultaneous reminder of all that lay in the outdoors, locked away behind covid-19 restrictions, as well as Kasey’s sole source of connection during this time, the plant, and the bonding experience it offered, inspired him to contemplate the very essence of the human relationship with nature.

Of course, as a director, Kasey wasn’t ever going to let such an inspirational experience die on the vine. It was a prime opportunity for something more, which is how ‘Bloom’, a short film starring Jodi Balfour (of ‘Ted Lasso’ fame), came into existence. Designed to explore this sense of interconnectedness, and the consequences of attempting to resist it, it serves as a striking way to unpack the subject for all to see – a reminder that perhaps it’s time we all reconsider how we let the call of nature into our lives.

To learn more about the craft behind the project, and the experience of bringing it to life, LBB’s Jordan Won Neufeldt sat down with Kasey for a chat.

LBB> It’s said that you took inspiration for ‘Bloom’ from your pandemic experience. Tell us about this! How did it make you rethink your relationship with nature, and in turn, what made you want to make a film exploring this?

Kasey> During lockdown, I became fixated on a houseplant. It started as something to take care of, but over time, it felt like it was responding to me, as if it was reflecting my moods. That quiet, one-sided relationship made me think about how we lean on nature for emotional stability, especially when human connection fades. ‘Bloom’ came out of that – this idea that something living, even silent, can still feel like it’s watching, listening, and maybe even understanding.

LBB> What was the writing process like? How did you lean into exploring the relationship between humanity and nature, and specifically, what led to you titling it ‘Bloom’?

Kasey> Strangely, the writing process felt easy, which I can't say has been the same for most of my other projects. There’s almost no dialogue, and the partner is never seen.

What interested me was how the woman and the plant start to mirror each other. The plant reflects her emotions – drooping when she’s down, growing when she’s hopeful – and soon, it’s hard to tell where one ends and the other begins. I wasn’t trying to make some grand statement; I just wanted to explore how our connection with nature can sometimes feel much deeper and more intertwined than we realise.

As for the title, ‘Bloom’ came early on. It’s the one clear message in the film: to bloom, to grow, to embrace. Everything else is open to interpretation, but the title feels like a quiet push to move forward.

LBB> From here, what was pre-production like? What did it take to get everything ready for shooting?

Kasey> It took roughly six months to get the right people onboard, including production company Boldly, and another six months to actually plan a shoot day. I knew If I wanted this film to happen, I'd need to find funding quickly. I worked closely with Boldly and Angelica Stirpe (producer) to apply for a Canada Council for the Arts grant. When we got greenlit, we couldn't believe it. We sped into production right away.

LBB> Very notable is the fact that you had Jodi Balfour as your lead. How did you get her involved? At what stage did she join the production, and what was that collaboration like?

Kasey> Jan Klompje (director of photography) and myself spent weeks pondering who would be right for this project. Jodi's name came up one random day through a mutual friend, and when I saw her photo, I was like, ‘she's the one!’. My mutual friend sent her an email with the script and she ended up liking it. The stars aligned.

Jodi became part of the project very early on. We video called every few months to keep each other excited about the project. She brought so much life and backstory to Laurel – stuff that I hadn't even considered. She's the best.

LBB> What was filming like? Where did you shoot, how long did it take, and do you have any anecdotes from the experience?

Kasey> We shot the film over the course of two days in Gastown (Vancouver, Canada). All I can say is that it was a very small space, and it was difficult to show the entirety of it without seeing shadows or reflections from crew members. Everyone had to be very mindful of their movements during takes, which kept us focused.

LBB> Specifically, how did you work to visually explore the concept of biophilia? What does it take to capture that essence on screen?

Kasey> Capturing biophilia visually is tricky, because it’s less about spectacle, and more about presence. In ‘Bloom’, the plant isn’t just there as a backdrop – it’s a character. So, we worked with Victoria Furuya to create a realistic plant that doesn’t actually exist in nature (it’s a hybrid). It’s close enough to feel familiar, but just off enough to be unsettling. The plant’s decay or growth mirrors her moods, and the more we notice it, the more it becomes unclear where she ends and the plant begins.

In the end, I didn’t want it to be a simple ‘growth’ metaphor; it’s more about the gradual shift in how she perceives the plant, and how the plant seems to know her better than she knows herself.

LBB> Of course, to help with this, you shot on 35mm 4-perf – what made this the right selection for the film?

Kasey> There's something about the grain, imperfections, and intentionality that I love when shooting celluloid. I'm not much of a gear head though, so in regards to that stuff, I put a lot of trust into the people I work with.

LBB> Let’s talk about aesthetics. What were your main aims and ambitions, and how did you achieve them through lighting, colour and post?

Kasey> I wanted the film to feel dark and earthy. I didn't want the look of the film to seem forced or contrived, so I set out to tackle things bit by bit. The end product was going to be a summation of little achievements inside each department (wardrobe, lighting, colour, etc.). To be honest, I wasn't exactly sure what the finished piece would look like, but I knew if we felt like we were succeeding along the way, we'd achieve something special.

LBB> The film’s soundtrack by Ali Helnwein is also a standout element. What was that collaboration like, and how did you find the right score for your work?

Kasey> Ali and I connected via email after my first short film, ‘Kingspin’, in 2017. When this opportunity came up, I quickly reached out.

I like how Ali works, because he starts experimenting with the score before shooting. I remember receiving a dropbox folder full of beautiful, orchestral, classical experimentations almost a year before we started production. In some ways, I feel like his excitement and productivity helped push me to follow through with the project.

LBB> Recently, you’ve just come off your festival circuit run with ‘Bloom’. How did that go?

Kasey> I feel like the festival circuit is such an antiquated thing. It takes a lot of patience to wait two-plus years for a project to finally be made public. I personally think that a film should be released after its world premiere, when everyone's talking about it and the energy is high.

With that being said, ‘Bloom’ had a great run. After it debuted at TIFF, it had another round of screenings in York, UK. Festivals are amazing! Every filmmaker should attend a festival, even if they don't have a film in it. The connections you make are invaluable.

LBB> With that in mind, what do you hope audiences take away from ‘Bloom’?

Kasey> I want people to have their own unique experiences watching my films. You don't have to feel a certain way, but I do hope you feel something.

LBB> Finally, are there any elements of this project you’re particularly proud of, or scenes which mean a lot to you?

Kasey> I'm super proud of ‘Bloom’ as a whole. But if I had to pick a moment that I'm especially proud of, it would have to be the opening scene in the plant shop. This was the first image in my head when I set out to write the script, and I feel like it's very true to the initial idea.