Table of Contents
Three Key Takeaways
- Nick Dugan’s Foxhole explores themes of refuge and the haunting past within a tranquil rural setting.
- The film’s production overcame unexpected challenges, notably the disappearance of their trained fox, leading to inventive practical effects.
- Dugan embraces independent filmmaking’s freedom, emphasizing collaboration with talented creators and a focus on visual storytelling enhanced by narration.
Filmmaker Nick Dugan presents Foxhole, a contemplative short film selected for the prestigious Nòt Film Fest. Starring Armando Riesco and Jere Burns, with James Arterberry as producer and director of photography, and Dylan Gansen producing and editing, the film follows a meditative groundskeeper seeking solace in a countryside inn while grappling with his past. Foxhole invites viewers into a quietly powerful narrative shaped by rural rhythms and personal reflection.
Q&A Interview
What drew you to make this film? Why this story, and why now?
"It all started with the sound of Mid-Atlantic cicadas in the summer, which activates an ancient neuropathway that tethers me to my childhood and to a time before phones."
Separately, in 2024, I kept finding myself passing through rural towns as a visitor… admiring and envying the ostensibly simple lives of the people who reside among these bucolic landscapes. And I caught myself thinking, foolishly, that such a life would be much easier than my own. So, I took that misconception, and that setting, and built out a narrative from there.
What surprised you most about the filmmaking process this time—creatively or logistically? Was there a moment on set or in post that completely changed how you saw the story?
"Our star, Bugsy the fox, broke free from her trainers and ran away into the woods during the very first shot of the entire production."
She was safely recovered several days later and is now living her best life. But it was a blow to morale. On day one, no less. We had to get creative on short notice by discovering new moments to show the fox on screen (except without the fox). But that’s filmmaking. We ended up using a loose fox pelt quite a bit, as well as a taxidermized fox. So, practical effects won out in the end nonetheless.
Is there a moment in the film that feels the most you—something only you could have made?
I don’t think there’s anything in the film that only I could have made. Ultimately, everything is a tribute or it’s derivative. Or both. Involuntarily, of course. But I do think we wove the voiceover and the visual story together in what is hopefully an unconventional way. That part feels like me. I’ll take credit for that one!
What was the hardest creative decision you made while making this film?
The hardest creative decision came during pre-production. Principal photography was set to take place during the height of summer. However, we had a big-name actor agree to join the production… on the grounds that we would move the entire production back a couple of months because he wasn’t available until the fall. Misguidedly fixated on the alluring breadth of this actor’s social media following, we made the hard decision to accommodate his schedule, and we pushed the shooting dates way back. Naturally, this required myriad thematic and narrative changes to script.
As it turned out, however, this actor was dishonest with his management team about his Spanish proficiency. And he dropped out a couple of days before production. Yet it was all a happy accident that led us to the legendary, Armando Riesco."
What do you hope audiences take away from your film?
"Retribution is fruitless. Radical forgiveness is the way."
How has this film shaped or shifted the kind of stories you want to tell next?
It has reinforced my fondness of cautionary tales with ancient themes. I want to follow this thread for the foreseeable future.
What’s a tool, technique, or resource that really helped you during production?
Most of the dialogue in the film is narration. This freed up a lot of room to focus on the visual storytelling. It was very liberating.
Independent filmmakers often rewrite the rules out of necessity. What do you think is the greatest strength of independent filmmaking, and how did you lean into that on this project? Is there a lesson or breakthrough you’d share with others navigating this path?
I think there’s much more freedom in independent filmmaking when it comes to choosing who your creative vision is at the mercy of. And if you can choose people who are smarter and more talented than you are, then you’re in really good shape. ;)
What does it mean to you to have your film selected for Nòt Film Fest?
This has been a pipe dream for a long time. Not Film Fest is the stuff of legend. Everyone I talk to who has been talks about it with such profound reverence and nostalgia. Like a summer camp for independent filmmakers. This is not the first time I’ve submitted a film to Not Film Fest, but it’s my first selection. I’m just very honored and giddy to have a seat at the table.
How do you hope being part of Nòt Film Fest will shape the life of this film?
I think it will redefine and sharpen what I’m trying to say with the film. I often find that the best insights about your own film come from other filmmakers. And this is THE filmmaker’s festival. I expect a lot of valuable interpretations from such an intense concentration of thoughtful artists.
Where do you see this film going next?
I think this film is meant for the short medium alone. No feature for Foxhole. We’re about halfway through our festival journey and then hopefully we’ll find a nice home for it on the internet.
"At the core of all my work is a desire to work among friends, and to polish and clarify my own understanding of the world."
Cast & Crew
- Armando Riesco — Actor, known for nuanced performances across film and TV.
- Jere Burns, — Veteran actor with extensive credits.
- James Arterberry — Producer & Director of Photography.
- Dylan Gansen — Producer & Editor.
Learn more about the film here.
