The Directors: Anastasja Black
Anastasja Black’s filmmaking approach is visually captivating, exhibiting a sense of simplicity, balance and elegance influenced by her background in fashion. The Berlin-based creative studied in London before moving to the German capital to pursue her passion for film. The multidisciplinary director delivers bold, distinctive work for leading fashion brands and other commercial clients.
Name: Anastasja Black
Location: Berlin, Germany
Repped by/in: FORM London, NO/Agency
LBB> What are some upcoming projects that you're excited about? Tell us a bit about them?
Anastasja> Oh, there are just so many!
I absolutely adore working on passion projects, where I can pour my heart into telling a story that truly resonates with me and visualise it in a way that's completely authentic to who I am. One of those projects is 'ROTTEN'. We started shooting part of it last year, and we're hoping to wrap up the rest this year. Right now, we're in the midst of figuring out the financial aspect, especially since we're aiming to shoot on 35mm and possibly in a virtual studio.
It's a fashion/dance film that explores the disconnect between nature and humanity, depicting each element as separate characters, with one central character immersed in nature, bridging the gap with the others through movement.
LBB> What excites you in the advertising industry right now, as a director? Any trends or changes that open new opportunities?
Anastasja> I feel like right now is such a great time to be a woman in the industry. There's so much happening, you know? I love that we're basically the generation that can be role models for younger ones, encouraging other women to go for it as directors, DoPs, and all that. What we really need at this point is trust, and it feels like we're heading in a really good direction with that.
LBB> What elements of a script sets one apart from the other and what sort of scripts get you excited to shoot them?
Anastasja> I'd say it really depends on how daring the agency or client is feeling. I always get super excited when I'm given a lot of creative freedom (duh!), but what really get me going are the projects where I can really focus on styling and set design, especially with my background in fashion. Those are the parts that really make me tick. Of course, I know not every company is into that, but when they are, it's amazing!
LBB> For you, what is the most important working relationship for a director to have with another person in making an ad? And why?
Anastasja> I think being a director is about more than just leading a team. You have to be like a friend and a safe space for everyone. People need to feel like you've got everything under control and that the vision we're all working toward together is worth it. It's really important to me that everyone enjoys being on set with me, not because I'm trying to please everyone, but because everyone should feel respected, heard, and valued.
LBB> What type of work are you most passionate about - is there a particular genre or subject matter or style you are most drawn to?
Anastasja> Fashion is a huge passion for me as I've mentioned before, given my background. My grandmother worked in fashion, my mom is a fashion designer, and I studied it in London. So bringing that expertise into film is incredibly fulfilling. My main critique of fashion films is that they often lack depth. I'm looking for something that resonates with me emotionally, and is not only visually pleasing. That's something I'm really striving to incorporate into my work.
LBB> What misconception about you or your work do you most often encounter and why is it wrong?
Anastasja> I think some people might see me as arrogant because I tend to come off pretty serious.
Fun fact: I don't own a single piece of clothing that isn't black, haha. But hey, I'm totally cool with people changing their minds once we start talking :)
Another misconception about my work is that all I can do is 'dark' stuff, which is totally not true. I mean, sure, I love those edgy, high-contrast images that have that underground vibe, but I bring my style into so many other aspects too—like styling, sound design, makeup, you name it. I feel like I can adapt pretty easily.
LBB> How do you strike the balance between being open/collaborative with the agency and brand client while also protecting the idea?
Anastasja> For me, it's all about finding a compromise. After all, it's the agency or client who make the shoot happen in the first place, so I'm more than willing to make their vision a reality. A good compromise often means shooting both ideas (if time allows that), or finding that perfect middle ground where everyone feels happy with.
I'm definitely not the type to push only for my own ideas without considering input from others. I thrive on that creative back-and-forth, that ping pong of ideas with everyone involved, and I also see it as a bit of a challenge. I'm pretty competitive, so that goes well together! :D
LBB> What are your thoughts on opening up the production world to a more diverse pool of talent? Are you open to mentoring and apprenticeships on set?
Anastasja> Absolutely, without a doubt. I've been really fortunate to cross paths with some incredible people who not only believed in me but also took the time to teach and mentor me over the years. So, for me, giving back is a no-brainer. I'm genuinely thrilled to pay it forward in any way I can. It's all about that sense of gratitude and passing on the knowledge and support I've received along the way.
LBB> Which pieces of your work do you feel show what you do best – and why?
Anastasja> 'HALLUCINATE' is a passion project we released in 2023. What I like about it is how this fashion film also integrates the emotions and relatability I was talking about before. We all had encounters in our life, we just thought about and maybe regretted, such as not being brave enough to approach a person and talk to him/her.
TELEKOM 'Electronic Beats' has a special place in my heart, because it was really the first commercial I did and the amount of trust I got from the DP Jonas Kolahdoozan just feels overwhelming. It opened up a lot of possibilities for me and shooting overall just felt very wholesome.
'Asphaltgold x Saucony' was also a nice experience. This was a project which we actually managed to merch the budget and crew to also help us on the previous day for 'ROTTEN', so it was three full on shooting days in 35 degrees in the desert. I had sand EVERYWHERE.
