AN AMBITIOUS FILM BUILT INDEPENDENTLY

Urenda describes CALIBRATION as “ambitious yet doable.”

It is an important distinction.

The film is attempting to create a credible dystopian Prague without abandoning the intimate psychological story at its centre. Its future is not designed as spectacle. It exists around the characters — embedded in institutions, technology, environments and the increasingly controlled structures of everyday life.

Artificial intelligence will form part of that process, with Bottomline AI working alongside the production to help extend the physical world created during filming.

For Urenda, that intersection is one of the elements she is most eager to see develop.

“I’m really excited to see how AI can help bring a dystopian art-house film to life. I’m particularly drawn to the way the project combines an intimate and socially relevant story with a futuristic dystopian world.”

But technology is ultimately only the architecture surrounding the story.

At its centre remains Freya.

Urenda believes audiences may find themselves drawn less to the mechanics of the future than to the disturbing simplicity of Freya’s desire: she wants the pain to stop.

“The protagonist’s fierce need and desire to be free from her pain brings the audience closer to understanding what trauma can do to a person, and the desperation it can lead them to.”

Freya is highly intelligent. Rational. Pattern-driven.

And yet suffering introduces another kind of logic.

“She seems to be willing to do anything to escape her pain. I think this is one of the most interesting aspects of CALIBRATION, as it makes the audience question how far someone might be willing to go to free themselves from their own suffering.”

It is a question the film deliberately refuses to answer for its audience.

THE MOMENTUM BEHIND THE FILM

One aspect of the production has surprised Urenda.

Not its scale.

Not its technology.

The response to it.

As pre-production has developed, she has watched actors, crew members and brand partners become increasingly invested in helping the independent production reach the screen.

“What has surprised me the most is how enthusiastic people have been about the project. Everyone seems genuinely excited to be part of the film and help bring it to life.”

Working alongside director Serani Hunyi has also given Urenda a close view of what it takes to move an independent film from intention into reality.

“Serani is very passionate about the project, which is really inspiring, both for my work on CALIBRATION and my motivation to keep working in filmmaking in general.”

What has stayed with her most, she says, is the degree of “passion, determination and proactivity” required to make an independent production happen.

Those qualities matter particularly now, as the film moves closer to production under Urenda’s production management.

Soon, the carefully constructed future that has existed in documents, conversations, images, and imagination will have to become physical.

For Urenda, that transformation is the part she is working towards.

“What excites me most is seeing how the dystopian world of the film will come to life.”

And beneath that world, she hopes audiences encounter something considerably more human.

Not simply a warning about technology.

But an understanding of what prolonged trauma can do to someone — and why the promise of silence inside one's own mind might become almost impossible to refuse.

Her hope for the audience is simple:

“I hope audiences come away with a greater awareness and understanding of PTSD and how deeply it can affect someone’s life.”

CALIBRATION asks what we might surrender to become free from suffering — and what price we are willing to pay.

Antonia Urenda is the Production Manager of CALIBRATION, a psychological dystopian film directed by Serani Hunyi and currently in pre-production in Prague.

ANTONIA URENDA: BUILDING THE FOUNDATION OF CALIBRATION

The Chilean-German filmmaker and Production Manager of CALIBRATION, Antonia Urenda, came to cinema by an unconventional route. Before studying filmmaking at Prague Film School, Urenda graduated with honors in Philosophy from the Pontifical Catholic University of Chile and spent several years working in communications for sustainability-focused enterprises and nonprofit organisations dedicated to environmental and social impact. During that period, she also ran her own sustainability platform.

Eventually, the pull of cinema became impossible to ignore.

“I was captivated by the magic of filmmaking and movies. The possibility of combining art with thoughtful questions and turning them into a beautiful story with different layers of meaning is something I find completely fascinating.”

It is perhaps unsurprising, then, that CALIBRATION caught her attention.

Set in Prague in 2040, the psychological drama follows Freya, a highly intelligent woman struggling with the consequences of trauma in a society increasingly willing to use technology to solve the complexities of being human. Beneath this world sits a more intimate question: how much of ourselves are we prepared to surrender in order to stop suffering?

When Urenda first read the screenplay, it was that collision between character and unsettling possibility that stayed with her.

“I found the script to be both entertaining and full of meaning. The characters felt very real, so it was easy to engage with them. The dystopian world brings an unsettling feeling, raising questions about where technology may lead us.”

FROM PHILOSOPHY TO PRODUCTION

Since moving into filmmaking, Urenda has worked on short-film productions as an Assistant Director while also writing and directing her own work.

On CALIBRATION, however, she occupies the less visible but critical territory of production management: helping turn the conceptual world of the screenplay into something that can physically exist in front of a camera.

For Urenda, that requires constant movement between departments, problems and practical realities.

“As a Production Manager, I think you have to be very proactive. I really enjoy being part of all the organization that goes into making a film, coordinating with different departments and helping to bring everything together.”

It is work audiences are rarely meant to notice.

But that is precisely the point.

Every location secured, every department coordinated and every logistical problem solved quietly removes another obstacle between the screenplay and the image that eventually reaches the screen.

For Urenda, there is particular satisfaction in knowing that all of this largely invisible work will eventually converge in the finished film.

A FILM MADE BY WOMEN

There was another aspect of CALIBRATION that immediately interested her.

The production is being built around an all-female core crew.

For Urenda, who had never previously worked within an all-female film crew, the experience has become one of the unexpected pleasures of the production.

“I find it really motivating to see women supporting each other in the film industry. I had never worked with an all-female crew before, and the experience so far has been really positive.”

That experience reflects something larger happening behind CALIBRATION. The production is not interested in making gender a decorative statement around the film. The intention is far more practical: to create an environment in which women occupy the technical, logistical and creative positions responsible for constructing the work itself.

Antonia Urenda leads the production of CALIBRATION - a Serani Hunyi film

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CALIBRATION is produced by Serani Studio (Prague), in association with Bottomline AI (France)