The Directors: Filmawi
Filmawi Efrem is a London-based filmmaker and photographer, originally from Eritrea. His work seamlessly weaves poetry, magical realism, and intimacy, creating deeply human narratives. His journey into visual storytelling began with disposable cameras gifted by his mother—a spark that grew into a career marked by collaborations with brands such as Adidas, Maison Margiela, Dr Martens, Comme des Garçons, and Burberry.
A former art director at AMV BBDO, Filmawi chose to work on the agency side to further develop his craft for brands. During his time there, he led photography and video campaigns for major brands, refining his ability to merge strong visual storytelling with brand identity.
To know his work is to step into atmospheric worlds where the line between fiction and reality blurs. Filmawi creates imagery that feels both cinematic and painterly, inviting viewers into spaces that are as intimate as they are expansive. His storytelling is rooted in emotional truth, exploring the complexities of identity, memory, and human connection.
Whether on set or sketching ideas in cafés, Filmawi centres human connection and emotional depth in every project. His recent series of 100 portraits for Gaffer magazine celebrates cultural diversity and innovation, solidifying his voice as a vital force in contemporary visual art.
Name: Filmawi
Location: London, UK
Repped by/in: knucklehead (UK) & Divine (FR)
Awards: D&AD, UKMVA
LBB> What upcoming projects are you most excited about? Can you tell us a bit about them?
Filmawi> My current ongoing photography project, 'The 100', is a book and exhibition for Gaffer magazine, featuring portraits of 100 of the world’s famous and talented individuals. Alongside this, I’m working on two personal projects, one in photography and the other in film.
My photography project blends the real world with surreal elements to reflect how our memories work, a mix of real experiences and fragments of things we’ve seen. It creates a dreamlike feel where the surreal naturally exists within real life moments.
For the film project, I’m working on a short film that explores the human mind, focusing on the more complex sides of our nature, like morality, redemption, and free will.
LBB> As a director, what excites you most about the advertising industry right now? Are there any trends or changes that you feel are opening up new opportunities?
Filmawi> I think the ads that are built on strong, original ideas rather than following trends, the ones that feel fresh and authentic, with a clear concept at their core. They take creative risks in a way that feels natural, not forced. Those are the ads that excite me.
LBB> What elements in a script make it stand out to you? What kind of scripts get you excited to shoot?
Filmawi> I’m drawn to scripts that feel honest and authentic, even if they’re a bit abstract, and ones that push me to think differently or try something new. I also like when there’s room for visual storytelling, where the mood, lighting, and composition bring out the subtext without needing loads of dialogue.
LBB> How do you approach crafting a treatment for a spot?
Filmawi> I always start by looking for a way in, something that sparks my connection to the story. It could be the character, the mood, or even the weather in a scene, but I try to find that anchor that makes it feel personal. Music is also a huge part of my process. I’m always listening to music while writing and putting the treatment together because it has a powerful impact on human emotion. I grew up surrounded by music, my mum was a DJ/presenter, so it naturally became a big part of how I connect with ideas. Music helps me shape the tone, mood, and flow, guiding how the visuals and emotions come together.
From there, I focus on how everything, visuals, tone, pacing, sound, and music, can work together to bring the idea to life in a way that feels real and emotionally powerful. It’s all about building a world around the story and using the treatment to show how it will all come together.
LBB> When working with a brand or market you're unfamiliar with, how important is it for you to research the strategic and contextual side of the ad? If it’s crucial to you, how do you go about it?
Filmawi> Research is important, I try to do just enough to understand the brand and its audience without getting overloaded but still leave room to bring a fresh perspective. For me, it’s about finding that balance, respecting what’s already there while looking at it with fresh eyes to create something original and genuine.
LBB> In your view, what’s the most important working relationship a director should have during the production of an ad? And why?
Filmawi> Everyone is important, but for me, the most important working relationship is with the cinematographer. They’re the ones who help bring the vision to life, so having similar sensibilities is key. When we’re creatively in sync, it’s easier to experiment and push ideas further.
At the same time, building a strong relationship with the agency and client is just as important because they understand the bigger picture and what the ad needs to achieve. Having worked as a creative at AMVBBDO, I know how important it is to align the creative vision with the brand’s goals. That experience helps me balance pushing creative boundaries while still delivering something that works for the client.
LBB> What type of work are you most passionate about? Is there a particular genre, subject, or style that draws you in the most?
Filmawi> I’m most passionate about work that feels real and human. I’m drawn to stories that explore deeper themes like identity, power, morality, memory and human nature. Whether it’s dramatic, surreal, or more grounded, I love it when there’s room for subtlety, where the audience can feel something without being told how to feel.
Visually, I’m all about cinematic storytelling, beautiful compositions, creative use of light and shadow, and moments that feel personal but also larger than life. I’m always excited by work that pushes creative boundaries but still feels relatable.
LBB> What’s a common misconception about you or your work, and why do you think it’s off the mark?
Filmawi> That I’m all about the visuals, that my work is just about making things look good. I do care a lot about creating bold, striking imagery, but it’s always in service of the story and the emotion behind it. For me, the visuals are a way to draw people in and make them feel something deeper. It’s never about showing off, it’s about making the images actually mean something.
LBB> What’s the most unexpected or challenging problem you’ve encountered during production, and how did you solve it?
Filmawi> The weather completely changed on the day of an outdoor shoot. It was meant to be sunny in the scene, but it ended up pouring with rain and completely threw off all our plans.
Instead of fighting it, I leaned into the new conditions and reworked the shot list to match the mood the rain brought. It actually added something raw and unexpected to the piece, and it turned out even better because of it. You have to embrace things like this because, to be honest, the audience wouldn’t have known it was meant to be something else in the first place.
LBB> How do you balance being collaborative with the agency and brand while still protecting the core idea of a project?
Filmawi> I always try to make the process a true collaboration by getting everyone aligned on the core idea from the start. When we’re all clear on what the project is really about, it’s much easier to have open conversations and work together without losing focus. I value the agency and brand’s input because they know their audience and goals, but I’m not afraid to push back if something might weaken the idea.
LBB> What are your thoughts on opening up the production world to more diverse talent? Are you open to mentoring or offering apprenticeships on set?
Filmawi> I already mentor people through a platform called Sondr. I bring them on set to get hands-on experience, and I also do Zoom calls to share advice and answer their questions. It’s something I really enjoy because I remember how much having guidance meant to me when I was starting out. At the moment, I’m mentoring four young creatives.
LBB> Your work is presented across so many different formats. To what extent do you keep each in mind while working, and how possible is it to balance them?
Filmawi> For me, the core idea and emotion always come first. Once that’s solid, I figure out how it can work across different formats, whether it’s a big cinema screen, a vertical phone display, or a social media cut.
LBB> What’s your relationship with new technology? How, if at all, do you incorporate future-facing tools like virtual production, interactive storytelling, or AI into your work?
Filmawi> I see new technology as a way to expand creative possibilities, but I’m intentional about how I use it, I’m not interested in jumping on every trend. The tech should serve the idea, not the other way around.
LBB> Which pieces of your work best represent what you do?
Filmawi> Adidas ‘World Champs’
This project is all about pushing the limits of what the human mind and body can achieve. It’s about showcasing the full potential of the athletes and capturing their determination, strength and resilience.
This one is about hope amidst chaos. I aimed to reflect the feeling of finding light in dark times, with the visuals supporting that emotional journey through a mix of surreal and real moments.
This image captures isolation and introspection, blending human presence with nature. The lone figure in the water evokes stillness and reflection, with the distant island adding a sense of mystery and longing.
Monster Florence - Master System
This image plays on the idea that if God made humans in His image, now humans are creating AI in theirs. The futuristic robots in a Garden of Eden setting highlight the cycle of creation and the blurred line between nature and technology.
