grab a plate, sit down.

Welcome to the journey of raising my child.

My child called short film, last name ‘dinner at noon’- is currently in its teenager phase. We love each other but we don’t like each other, it’s normal, it’s part of growing, and time heals everything.

ACTORS

Beau Pyka as Beatrice

Anastasia Tsoullofta as Michelle

Marcelina Kulczycka as Chris

Markos Kyriacou as Donna

Valerie Billy as Luna

written and directed by Tena Ivanetic/ Mustra

FILMCREW

Sound engineering- Henrik Quinho, Noe Gilson

Camera directing- Shakira Costa

Costumes- Emma van Tuyll

Styling- Valerie Billy

Makeup- Issa, Lola Cickaric, Lilla/ Moth, Ari

This film explores the disturbing normalization of suffering and consumption, touching on the primal reality of how our civilization has ascended through exploitation.

In this little corner of my website, you’ll find the steps I took to reach my goal, to create an immersive, four-walled film.


Surreal.

Unsettling.


A space where the audience doesn’t just watch, but exists inside the movie.

Pre-production

Production

Post-production

The screening

Liberators paradoxically end up imprisoned.

I started my research paper titled “Dead yet free”


It felt powerful, but I hadn’t earned it yet.

I thought I was gonna write a manifesto.

Bold.

Provocative.


Instead, I fell into research.

Into rage.

Into grief.


’Dead, yet free’, became the result, a raw exploration of animal testing, consumption, and the normalisation of it all.

It was never meant to be a manifesto, but a path to one.

A long path that might never be reached.

ARTISTIC RESEARCH

ARTISTIC RESEARCH

My artistic research began with surreal cinema, films by David Lynch, The House, Waking Life, to understand how tension, discomfort, and dream logic can shape a viewer’s body and mind.

I explored how to translate those feelings into immersive installations, studying multi-screen projection and how to design a space that swallows the audience whole.

At the same time

I looked inward

reflecting,

on personal memories of animal slaughter and human detachment.

I observed ant behaviour, both in the wild and in my own ant farm, as a metaphor for human systems, repetition, and self-destruction.

I experimented with performance ideas that tested the body, movement, ritual, silence, they became tools to create unease.

I layered textures, and mixed media over footage to find visual tension.

Every sketch, test, and breakdown became part of the process.

This wasn’t just research, it was a continuous ethical reflection. Every choice had to mean something.

Technically, I pushed myself to learn Isadora, MIDI systems, to fully control the space. I studied how timing, sound, and light manipulation could emotionally influence an audience, how to make a room breathe with the film.

My immense gratitude goes to Hans Lasschuit!