Inside Snipped: Director Alexander Saul and Producer Rebecca Pruzan on Their Oscar-Qualifying Short Film

Danish director Alexander Saul and producer Rebecca Pruzan return to the festival scene with Snipped, a sharply observed and emotionally resonant new short film that examines the fragile tensions of modern parenthood. Blending intimate character work with a quietly unsettling tone, Snipped showcases the duo’s keen eye for human complexity and the small moments that reveal far bigger truths. We sat down with Saul and Pruzan to discuss the film’s origins, its layered themes, and the collaborative process that brought this striking story to life.

Where did the idea for this film come from?
Alexander- The film is inspired by my own conversion to Judaism. My father is Jewish and my mother is Christian, and in my early twenties I decided to convert because Judaism was the tradition I felt most connected to. When it came time for the circumcision, I was living in Copenhagen—and the city’s only Jewish doctor had retired. In recent years, it has become increasingly difficult to have a ritual circumcision performed there, so my only option at the time was to go to a Muslim doctor. This happened shortly after October 7, which added another layer of complexity to the experience. In that sense, the film mirrors my own story quite closely.

Did you take any inspiration from other films or filmmakers when creating this film?

Alexander- We did draw some visual inspiration from A Serious Man by the Coen Brothers. Their approach wasn’t just an influence visually—their deadpan humour also resonated with me. That understated, slightly off-kilter comedic tone was something I wanted to bring into Snipped as well. Beyond that, most of the film’s inspiration really came from my own experience.

“What we aimed for wasn’t characters telling jokes, but a deadpan seriousness that allows the humour to emerge on its own.”

The humour in Snip. I found this film to be very tense through the eyes of the protagonist, but also very comedic. How did you balance this?

Alexander- There’s something inherently funny about penises, and Rebecca and I talked a lot about that while developing the film. We were dealing with an undeniably serious subject, so we thought—what if we lean the opposite way and make a comedy from it? That contrast between the heaviness of the topic and a comedic approach naturally created its own kind of tension.

What we aimed for wasn’t characters telling jokes, but a deadpan seriousness that allows the humour to emerge on its own. In the script, there were moments where the humour was woven in a bit more overtly, but the tone we ultimately found came from treating everything with absolute sincerity—which, paradoxically, made it even funnier.

Rebecca-The story really came alive for me when Alexander first told me about his own circumcision experience—which, as he mentioned, also took place in a Muslim clinic. We were on a train together, and I remember asking why he wasn’t biking, because he always bikes. That’s when he shared this very intimate story from his life. I immediately started laughing—not out of disrespect, but because there was something genuinely funny and human about the way he told it.

What I love about this film is that humour has been part of the process from the very beginning. On set, everything was incredibly funny; the sound recordist even struggled at times because Alexander couldn’t stop laughing. We all laughed constantly. And yet, the film deals with one of the most serious, sensitive subjects imaginable—Jews and Muslims, identity, cultural tension. You open any newspaper and the headlines are devastating.

But somehow, while talking about these heavy topics, we found ourselves laughing and feeling warmth. And when we screen the film, audiences go through the same journey. At first, they’re tense—they see the subject matter and assume it will be heavy or confrontational. Then they realize they’re allowed to laugh. That shift is something I really cherish. It still feels strange to laugh about this subject matter, but that’s exactly what we’ve been doing from the start—and I think that’s part of what makes the film resonate.

I read an article that said that the score blends Jewish and Middle Eastern influences underscoring cross-cultural tension how did you approach the music and what was your collaboration with the composer like?

Alexander- A couple of days before we were supposed to close sound, I realized something was off with the music. I called Rebecca, and we were both a bit confused. That night, I stayed up listening to all kinds of music online, trying to figure out the right theme for the film. Eventually, I discovered a Jewish band playing klezmer music, and it immediately felt right—it captured both the humour and the Jewish identity in the story.

Rebecca had previously introduced me to a Jewish musician who plays klezmer, so I reached out to him and asked for his help composing the score. He agreed immediately, and I told him I also wanted to incorporate a Middle Eastern, Muslim tone. He happened to be close friends with Bilal, who plays the oud.

We postponed the sound deadline for a few weeks, and when we finally gathered in the studio, the two of them performed live together with a cellist and an accordionist while watching the film. It was breath-taking—an incredibly beautiful, collaborative moment. It felt like coexistence in the purest sense, and for me, it was almost like it should have been livestreamed so everyone could witness it.

Rebecca- The composer, who is Jewish, and Bilal have played together extensively at a variety of venues—synagogues, churches, and more. The composer also runs the Middle Eastern Peace Choir, a children’s choir dedicated to promoting coexistence through music. Everything he does reflects that mission, and his collaborations with Bilal, who is Palestinian, are a perfect example of that spirit.

When we were in the studio, the atmosphere was incredible—everyone was laughing, fully present, and creating together in real time. The score practically came together on the spot; I think we finished it in about seven hours. It was, without a doubt, one of the most unique musical experiences I’ve ever had. The process captured the essence of the film itself—coexistence, spontaneity, and authenticity. Finding the right music for this story had been a challenge, but that day, it all fell beautifully into place.

Snipped deals head-on with intersection of faith, identity and ritual. What was the most surprising or challenging thing you discovered while writing about religious coexistence?

Alexander- Growing up with Judaism made that aspect of the film fairly easy for me, but writing the Muslim characters was much more challenging. I knew only superficially about Muslim culture and wanted to ensure that I portrayed the characters in a trustworthy and respectful way. To do that, I worked closely with a political and cultural consultant who grew up Muslim and has extensive knowledge of the culture and its history.

He guided me through every detail of the Muslim side of the story, helping me make it as precise and respectful as possible. We had countless conversations, over the phone and in person over coffee, and the collaboration was incredibly rewarding. In fact, our work together forged a strong friendship that continues to this day.

Rebecca- Interestingly, the cast ended up being almost evenly split—half Jewish and half Arabic, Muslim. That wasn’t intentional, but it worked beautifully for the film. The actor who plays the doctor, in particular, was incredibly helpful on set, not just with the Arabic dialogue but also with creating the right atmosphere. He acted almost as an advisor, guiding us in subtle but important ways.

For me, the hardest part came during casting, specifically with the last taxi driver scene. I had to call the actor out of the blue—I’d never met him before—and ask him to play a Muslim taxi driver. I felt so uneasy because it’s a role that could easily come across as stereotypical. I remember stammering through my explanation, apologizing repeatedly, and trying to convey why it was so important for the authenticity of the film that he play the part himself.

To my relief, he laughed at the situation and was fully on board. That moment taught me a lot about trust and intention in filmmaking. As long as you approach the material respectfully and with your heart in the right place, it usually works out. But in that moment, it was definitely the most nerve-wracking part of the process.

How have the reactions been for audiences so far particularly from communities that relate to the religious and cultural themes of the film?

Alexander- The reception to the film has been very positive so far—we haven’t received any negative feedback. Audiences seem to really appreciate the humour and enjoy that it allows them to laugh about coexistence in a time when the media often emphasizes division and hate. Many viewers have expressed that the film feels refreshing and much needed.
We’ll be screening Snipped at Jewish Film Days in Copenhagen on December 7, which will be the first time a large Jewish audience will see the film. I was recently in Seoul, and the excitement there was palpable. The screening in Copenhagen promises to be especially interesting, with both the new and former rabbis attending. It will be fascinating—and fun—to see how the community reacts to the film.

Rebecca- Actually, we’ve only had one person who didn’t connect with the film—a publicist who is very religiously Jewish. I’m not sure if it was a matter of personal belief about circumcision, but that was the only critical feedback.

At our London Film Festival screening, the reaction was almost the opposite. I remember a reporter sitting in front of me—at first, the room was quiet, especially during the tense opening scene with the ambient street sounds. Then, very suddenly, he burst out laughing. His laughter was so infectious that it lit up the entire theatre, and soon everyone was laughing along.

So far, the response has been overwhelmingly positive. Even though the film has only screened at a few festivals because it’s so new, audiences have clearly appreciated the way it allows them to laugh at something so serious—a balance that’s been incredibly rewarding to witness.

“we wanted to use humour to break down barriers and encourage dialogue—bringing people together rather than driving them apart.”

Did you ever worry about backlash or misinterpretation when handling such a sensitive subject matter?

Alexander- Absolutely. That’s why working with a political and cultural consultant was so important for me—I was very concerned about unintentionally being disrespectful, especially toward Muslim culture. Even after the film was completed, I was still nervous. You never know how something might come across after the long process of editing and rewriting. I didn’t feel completely at ease until our first screening, when the audience response was overwhelmingly positive.

Rebecca- No, I don’t think so. As we mentioned earlier, we were extremely cautious throughout the process, particularly because we both know Jewish culture much better than Muslim culture. We were very aware of not wanting to offend anyone. The film is full of moments that explore prejudice, but our goal was never to insult or hurt anyone. Instead, we wanted to use humour to break down barriers and encourage dialogue—bringing people together rather than driving them apart.

So far, the response has been very positive, and no one has reacted negatively in a serious way. That said, I don’t think I’ve ever been so careful with a project, because it’s such a sensitive topic—you really have to walk a fine line. The only minor note came from my best friend, who mentioned feeling a little uncomfortable when a character says “Yahudi” (Jew in Arabic) in one scene. I explained that the film portrays prejudice across the board, not targeting any one group, and she understood. It reinforced how delicate the balance was, but I think we managed to handle it respectfully.

Are you both working on anything new at the moment?

Alexander-I’ve just started at a film school called Super 16 in Copenhagen, and I’m currently working on my first-year film. The story follows a man who attempted suicide and was clinically dead for ten minutes. He survived, but initially suffered severe brain damage. Remarkably, he emerged with an intense zest for life, and today he lives fully, able to do everything he wants.

The film is both a celebration of life and an exploration of mental illness. We’re still in the very early stages, shaping the story and structure, but the approach will be a hybrid of documentary and fiction, blending real-life experiences with narrative storytelling.

Rebecca- No, right now, I mean, for me, I’ve done three films this year. so right now I’m not doing new projects. I’m saying no to new projects because… Well, most of my time these days is about bringing Snipped out to the world. So that’s my main focus right now.

With Snipped, director Alexander Saul and producer Rebecca Pruzan have crafted a film that balances humour, cultural insight, and heartfelt storytelling. Drawing on Saul’s personal experiences and a collaborative, respectful approach to Jewish and Muslim cultures, the film turns an intimate, potentially tense subject into a universal story about coexistence, laughter, and human connection. From its thoughtful casting to its unique live-recorded score, every element reflects a commitment to authenticity and creativity. As the film continues to screen at festivals around the world, it’s clear that Snipped is not only entertaining but also resonating deeply with audiences, sparking conversation, empathy, and, most importantly, laughter in a world that could always use a little more of both.

Megan Hilborne (Instagram: meghillbilly) is a freelance writer and film critic based in Portsmouth. She graduated with a degree in Film in 2020 and has continued her study of the medium in her day-to-day life. She takes particular interest in indie, horror, feminist and queer cinema.