Sébastien, whose son is in a coma, seems to get worse and worse, and starts to see his son appear to him in strange ways.
NO LONGER ALIVE
> Why did you chose to shot this movie?
First off, my goal was to make a short film that was scary. For me, emotion is the most important thing about a film, and here, my goal was to make something that was scary. Once I knew that, I started working on the story.
I wanted to make something that people could relate to, and that was interesting to me, so it had to do with children and family problems, which are the themes and situations that I like to deal with. Then, we slowly began to craft the story of the couple, and the kid, and so on. But that was only a secondary concern to me.
> The question of euthanasia looms above the whole story, and it’s a discussion that has been very prevalent throughout the last years. Why do you think that is?
Euthanasia is not legal in many places, and it’s because it’s not an easy decision. This case is a perfect example of it: a situation where one of the parents does not agree, in that this guy wants to keep his son alive, because he feels guilty, while the mother, she knows that there’s no hope – so she wants to end it. The situation requires an agreement, but if one of the parents decides to avoid reality, that’s not really possible.
The mother wants the best for her child: she wants to let him go. In her mind, prolonging this situation would serve nobody, because the kid doesn’t really feel anything anymore, and the kid is no longer “alive”, in a complete sense. The reasons why the father wants to keep the child alive, on the other hand, are not really logical – they are emotional, selfish. He’s troubled by his guilt, which, mixed with all those medicines, makes him start to see these things that blend the gap between reality and fiction, so he keeps taking more meds, and ends up going crazy.
> How was the general reaction to the film?
A lot of people hated the mother, and her decisions, and called her a lot of bad words. I can’t decide for everybody, of course, but I have the feeling that her decision was indeed the best way forward. But that’s up to debate, of course.
At the point of the interview, Cyrus was getting ready to release a new short film, titled “Portraitist”, focusing on an old artist who, just before jumping from a bridge, receives a call of his lost son, whom he never saw in person, asking for his help.