Welcome to the Filmmaker Spotlight – this series shines a light on filmmakers, actors, editors, and more, as we ask them a few questions and uncover why they love what they do.

This time - Azim Miah

Director

Tell us a bit about yourself, how did you get into the industry?

My name is Azim Miah, and I am a British Bangladeshi film director based in Northampton. My primary goal is to be one of the greats of my generation, whilst using the power of visual storytelling to make the world a better place. I originally broke into the industry twelve years ago by editing YouTube videos. This period was vital because it allowed me to build a formidable foundation in the trenches of independent film. I practised filmmaking innately because I had no other way to express myself, eventually self-funding independent productions and creating a local buzz to grow. While I started as a one man crew doing everything myself, I gradually built a collective of talented DPs, actors, composers and more who wanted to join the vision. Coming from The Mounts in Northampton, I have spent over a decade navigating an industry that often feels like a "pay to win" model. I am here to change that narrative and show other underrepresented creators that their voice has value.

You describe yourself and your work as avant-garde, what does that mean to you, and how does it show in your films?

To me, avant-garde is about expressing truth, and I believe that true honesty comes from the subconscious. In our daily lives, we are often pretenders; for example, every person lies when asked "how are you?". My work uses an avant-garde visual language to bypass these conscious lies and reach the subconscious truth. This shows in my films through the exploration of taboo subjects such as mental health, death, and identity. I use surrealist imagery and unconventional framing to represent the layers of the human psyche that regular prose cannot capture. By being honest with my own subconscious, I create a blueprint for others to explore their own lived experiences without fear.

Who or what inspires you in your work?

Much of my inspiration comes from outside the world of cinema, which has helped me craft a distinct style. I have learned a great deal from musicians like Nas, Jaco Pastorius, Big L, Miles Davis, Kendrick Lamar, Bjork, Charles Hamilton, Blu, J Dilla etc. Dilla’s ability to chop up samples to create something entirely new, playing with being on or off beat, heavily influences how I find rhythm and "rhythm crafting" in the edit suite. I am also inspired by 90s wrestling, specifically regarding long-term storytelling and crowd control. This influences my charisma on set; I view directing as a performance that allows me to lead teams of up to fifty cast and crew members with confidence. Of course, I also take influence from masters like Kurosawa, Maya Deren, Scorsese, and Tarantino. Ultimately, my heritage and the struggle of navigating two cultures fuel my work ethic. I believe the best stories come from the most unlikely places. In addition, my personal life struggles and reaching the other end have allowed me to have a refined purpose. I am driven by the idea of showcasing underrepresented cultures, whether it is Northampton, my Bangladeshi heritage, or the experience of navigating between the two cultures. All of this fuels my work ethic and my desire to keep crafting stories. My goal is to reach a level of success where I can use my position as an opportunity to help people. While materialism and glamour can be pleasant when they happen, dealing with personal struggle has taught me that there is no price to bring back a human life. If I can give people a bit of hope through my work, that is what truly matters to me.

What are you trying to explore or question through your films?

I am trying to uncover parts of myself that I did not know about subconsciously. Filmmaking is a vehicle for self-expression that allows me to peel back layers of my own psyche, whether that involves exploring past mental health issues or unresolved relationships. I believe that film is the closest medium we have to a deep look into the human soul, and by questioning my own truth, I hope to become a better person and inspire others to do the same.

Your work has a strong visual identity, as a director, how much influence do you have over the look of a project?

I am grateful to have a massive influence over the visual identity of my projects due to my avant-garde approach. I prefer to have extensive conversations with clients and collaborators before production begins to ensure our tastes are aligned. Because I have spent years in the trenches mastering the technical aspects of production and post-production, I can clearly communicate a vision that is both artistically bold and technically sound.

What have you learned from working with different departments across your projects?

Beyond learning more of the technical specifics of different departments, I have learned the profound value of human decency. It blows my mind that many collaborators are surprised when I simply listen to them. I have heard many stories of people being treated poorly in this industry, but I believe that I am nothing without my team. It is an honour to have people put their faith in me, and I view filmmaking as a collective progress rather than a solo pursuit.

What part of working in the film industry do you find most challenging?

From a production standpoint, the biggest challenge is getting things off the ground without coming from money nor connections. I was raised in The Mounts, pair it with my Bangladeshi upbringing where filmmaking is not seen as a "real job" or a viable career path unless you are at a Hollywood level, it feels like me against the world. Starting at a disadvantage with no resources and facing discouragement from your own culture can be difficult. However, these hurdles served me well; they forced me to create my own path and build a "low-budget production hack" mentality that now defines my professional resilience. I didn’t want to wait around for people to give me a chance, I made it happen, even if it’s taken me 12 years thus far.

What’s one project you’re especially proud of, and why?

I am especially proud of a commercial project titled 'The Exorcism', which encapsulates the burnout of modern dating culture through a playful horror aesthetic. This project is the epitome of the surrealist style I embody, featuring a complex VFX levitation sequence. On a deeply personal level, I lost my grandad on the day of the shoot. I kept this a secret from the crew because I refused to let the production crumble. I managed to see him before he passed, but I had to hold myself together and wrap the production before I could privately break down. That project proved to me that filmmaking is not just a career; it is a vehicle for survival and moving forward. Therefore, I’m pretty proud I had the mental strength to lead the team despite finding out the news 7 minutes after call time.

What advice would you give to people wanting to do the job that you do?

The world will do everything it can to change you and tell you what you "should" be doing. You must do everything you can to understand your own purpose. If you know who you are and why you are doing this to the absolute maximum, nothing will ever stop you. I say that as someone who has navigated mental health issues and the loss of close friends; life is unpredictable, a part of me is shocked how I’m still alive despite all that’s happened, but a refined purpose is your greatest anchor. Once you get it, please don’t let it go.

Favourite on-set snack?

Does coffee count haha? But no honestly crisps or some biscuits, I’m not a fussy eater. I try to keep it minimal to be honest.

Are you currently working on a project, or is there anything you’d like to plug?

I am currently in post-production for a country music video I directed on 16mm film, which should be finalised very soon. I hope to work on a feature film, doing a recce soon, but that’s currently early days. You can find my full portfolio and more of my work at https://azimmiah.com/.

Filmmaker Spotlight - Azim Miah

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