Sky Peals

In the realm of filmmaking, there exist stories of unexpected journeys, of paths that lead from unforeseen beginnings to remarkable destinations. Moin Hussain, a filmmaker whose trajectory in the world of cinema embodies such a tale, brings forth a narrative that intertwines creativity, emo- tion and the human condition. With his feature, Sky Peals, Hussain navigates the intricacies of isolation and human connection in a setting both transient and enduring – a motorway service station. In an insightful conversation, he reveals the inspiration, challenges and insights that have shaped his artistic journey.

Can you tell me a little about your beginnings?
Growing up, I was into music mostly, playing in bands. I’m not sure I had any specific aspirations but I generally enjoyed anything that was creative. I never really thought about directing or filmmaking too much and only ended up studying Cinema and Photography at university when I didn’t get into a music course I’d applied for. Even then, it still took me about three years to direct a film. I spent my three years at university thinking I wanted to do every other creative role on a filmset before I understood what a director actually did. Being able to oversee and dip my toe into every part of the filmmaking process really appealed to me and as soon as I finished making that film, all I wanted to do was do it all over again.

There are themes of loss and isolation in the works you’ve done in the past. Are those the themes you see yourself gravitating towards? Can you talk in the context of your films, Naptha and Holy Thursday? 
I find it hard to analyse my own work. I try not to write with a theme in mind but those are definitely feelings and emotions I find myself coming back to, intentionally or not. It’s really only after when you’ve finished making the film and you have enough distance to realise what brought you there. I always think it’s like your unconscious trying to process something.

Real Gods Require Blood was a thriller though. Where did the idea to make that come from?
Real Gods was a collaboration with my friend Tom Benn, who is a brilliant author and screenwriter, so the setting and the world comes from Tom rather than myself. I remember he pitched it as a retelling of The Turn of the Screw set in 90’s Manchester and the script really jumped off the page.

It’s the only thing I’ve made, which I didn’t write myself but I guess there’s a fair bit of crossover with my other shorts. To link it back to your previous question though, it’s definitely a film about isolation, I’d say it’s a more desperate, suffocating version of it but again, it’s about being cut off and stuck somewhere alone and without help.