DUPLICITY: Taha Aziz

Taha Aziz, director for the film Duplicity, shares with us his thoughts and experiences while working on this film.

1. Why do you think Duplicity is a story that needs to be told?

Duplicity (2021) is a story that needs to be told because of its intersectionality. It’s a film that explores the relationship between two sisters in a time of crisis, both global and personal. Stylistically, it’s extremely unique because of the varying professional and cultural backgrounds the crew comes from. The film was first written as a play, shot like a film, and addressed like a telenovela. In this diverse nature lies the uniqueness of Duplicity (2021) as it remains a satyre of a telenovela yet recontextualizes it to a different setting. The fusion of perspectives it offers is part of the bigger message: retrieving the concept of telenovelas from fantasy to a concrete setting; a pandemic-infected 2020 New York City. Due to its context & universal themes, the film reshapes the idea of a telenovela by also making it accessible to a broader audience. Subsequently, we attempted to reshape the driving force of a telenovela from escapism to full consciousness of the social and cultural context it takes place in; yet keeping the comedic and theatrical soul of a telenovela  

2. What were the challenges that you faced when creating this project?

There were a few challenges we faced while creating this project. Of course the first one would be COVID-19 and the restrictions it imposes on film crews in terms of size and procedures. The confines of space were also an issue in terms of shot-listing and camera movement. We shot this film in an East Village 1 bedroom apartment, which already says a lot about the space we had available! Due to the limited number of people on the film crew, different crew members had to put on different hats, which in the end turned out to be a beautiful experience. We were all able to merge our minds and take on different jobs despite the challenges the script called for! 

3. What was your favorite moment during the entire process of creating this project?

I’d have to say the shoot itself: a crazy three days! The crew came together beautifully and the moments between takes when we’d merge our brains to solve any on set issues were my absolute favorite. I do have to say though, one moment was hilarious: creating a DIY rig for the camera in order to complete an aerial shot. We laughed so much trying to create a rig out of a Dunkin Donuts paper cup and Gaffer tape! Another favorite moment was shooting the hallucination scene when Renata imagines her sister with Giovanni. Creating that effect took a while but once we had achieved it, our abs were burning because of how much we’d laughed trying to synchronize the actors’ blocking in a tiny bathroom.  

4. What are the different things that you learned after having done this project?

I definitely learned how to work around a small space for a one-location shoot. It was challenging and we had to put several minds together to sort out lighting placements and camera movement, as well as talent blocking. What I also learned is that any project, of any size or demand, is achievable with a smart crew as long as passion and motivation are the leading energies in the room! 

5. What’s your favorite line/scene from the script and why?

To me it’s just the way Regina calls out for “Sandra” when she can’t find her in the apartment. It’s really just one line that we decided to repeat in the same tone and manner throughout the film. Something about Regina’s tone when calling out for her sister is both extremely realistic and absolutely hilarious! 

 6. Is there any other project that you are currently working on or would like to work on in the future?

I am currently working on a couple of different films, all in different stages. One is a narrative drama short navigating an ex couple’s toxic relationship and exploring how the past always finds its way to the future. The two other films I’m working on are currently being workshopped, one being the sequel of a film I already shot in 2019 and aiming to be developed into a feature film. In the future, I would like my work to focus on socially aware hyper-realistic films as well as  stories that push social change forward and debunk the essentialist idea of cultural and social categorization by offering complex and culturally ambiguous characters.