Double Debut: Aaliyah Lynch’s Bold Entrance into Filmmaking
AFFECT caught up with Berlin-based filmmaker and writer Aaliyah Lynch, whose two recent short films (Fiancé and I Feel Like a Child) both premiered at Berlin’s Delphi LUX cinema. Known for her deeply personal storytelling and distinct visual sensibility, Lynch explores themes of vulnerability, identity, and emotional perception through an honest, self-reflective lens. Drawing from her own experiences, she turns introspection into imagery, confronting the confusion of growing up and the quiet violence of emotional relationships. AFFECT had the pleasure of attending the premiere at Berlin’s Delphi Lux, where her work lit up the screen and the energy in the room was electric. Surrounded by a crowd of young, passionate creatives, the evening felt less like a debut and more like the beginning of something big. We spoke with Aaliyah about how she brings her inner world to the screen, what drives her to keep creating, and why sometimes, making films means teaching yourself how to make them happen.
Photographer: Marie Staggat
A: Before we talk about the films: how would you describe yourself as a director and producer in a few sentences?
AL: I’d describe myself more as a writer, director and animator than a producer. Producing is something I do out of necessity, when you’re making independent films, you have to take on that role too. I love it, but it’s really a means to an end. I’ve always felt that film is the best art form because it combines everything, music, images, storytelling. It’s all there.
A: When did the wish to write and direct your own films begin? Was there a key moment?
Aaliyah Lynch: It goes way back. My first memory in the cinema was Finding Nemo, and from that moment I wanted to be an animator at Pixar. When I was twelve, I took 2D animation courses at the Filmakademie Baden-Württemberg. Over time, I moved into post-production and editing, but I always wanted to be behind the camera, creating stories of my own.
About I Feel Like a Child
A: In I Feel Like a Child, you follow the 22-year-old Amara, who doesn’t quite feel like an adult yet. What inspired you to create this character?
AL: Quite simply: Amara is me. I wrote the film in London, in the summer of 2023, when I felt very lonely and overwhelmed. I started making a list of everything that frustrated me: my tax advisor, dating, all those small things and realised it could become a short film. With a few friends, little money, and a lot of help, I decided to just make it.
A: In the film, Amara’s 12-year-old self appears in several scenes. What does this doubling mean to you, narratively and visually?
AL: The film was always called I Feel Like a Child, so that image felt natural. It expresses how clueless and lost we sometimes feel in moments when we’re supposed to “have it together.” Visually, it’s also very clear, people immediately understand what it means. It’s a simple, strong way to show how that childlike side still exists within us.
A: Amara’s friend Loretta seems more relaxed and grounded. What did you want to express with that contrast?
AL: Loretta is the other side of me, the version that’s already realised, it’s not that deep, calm down. I often create characters that mirror two parts of myself: the anxious, overthinking one, and the calmer, wiser one. Together they represent a kind of conversation between who I am and who I want to become.
A: The film addresses insecurity, overwhelm, and identity. What do you hope young audiences take away from it?
AL: That they’re not alone. I used to feel stupid for not knowing how to handle life. Everyone else seemed to get it. But after sharing the film, so many people said they felt exactly the same way. That feedback helped me a lot, and I hope it helps others too, to feel seen, to worry less, and to ask for help when they need it.
A: Where do the boundaries blur between your own experience and fiction?
AL: Everywhere. The situations are real, but the way I show them is very stylised and theatrical. I love building symmetry and carefully composed shots, everything is planned visually, but what’s being shown is very raw and honest.
AFFECT: Your film also shows the tension between self-image and external expectations. Do you think that’s universal or specific to your generation?
Aaliyah Lynch: I think it’s universal. Every generation of young people struggles with that, how to be yourself while everyone projects something onto you. It’s part of growing up, figuring out what’s truly you and what’s been put on you by others.
A: Do you think films like yours can open up conversations about adulthood and responsibility?
AL: I hope so. I was afraid people would think my fears were silly, but it turns out many feel the same way. If my film can make someone reflect or talk to their friends about these feelings, that’s already a success.
A: Is there a message you wanted to give your younger self with this film?
AL: Don’t stress so much and ask for help. I still need that reminder. You don’t have to know everything on your own.
About Fiancé
A: Your second short film is called Fiancé. The title suggests intimacy and relationships. What is the central idea behind the story?
AL: It’s about a toxic relationship, not physical violence, but emotional manipulation and gaslighting. I wanted to show how subtle comments or gestures can already be harmful, and how friends often overlook what’s really going on. Those small moments might seem insignificant, but they stay with people. So when something bigger eventually happens, no one is truly shocked, because, deep down, everyone saw it coming.
A: What was your starting point, was it a personal theme, a specific scene?
AL: My starting point was exactly that: those small, uncomfortable gestures that people ignore because they don’t want to get involved. I wanted to show how easily that ignorance can escalate.
A: A viewer wrote under the trailer that Fiancé gives them The Invitation vibes. Do you see parallels, and how do you handle such comparisons?
AL: I hadn’t seen The Invitation when I read that! But it makes sense, many indie films take place in one location, often around a dinner table. It’s a smart way to create tension with a small budget. I take those comparisons as a compliment; it means the setup works.
A: What kind of mood or atmosphere was most important to you in Fiancé, and how did you create it?
AL: Silence. Those awkward pauses after something uncomfortable is said, that’s where the tension lives. I love holding the camera on one face, letting reactions unfold. Sometimes people laughed during those silences, sometimes they felt uneasy. I like both.
A: Can you tell us a bit about the constellation of characters? What makes them interesting to you?
AL: The main character, Aline, is in an unhealthy relationship. Vincent, her fiancé, is insecure and controlling. Their friends each represent different reactions to that dynamic, some ignore it, some sense it but stay quiet, and others confront it. In a way, it’s again about recognising red flags and deciding whether to act or stay silent.
A: What emotion do you hope viewers leave with when the credits roll?
AL: Relief, maybe. Or awareness. I want people who’ve experienced something similar to feel understood, but also to realise, it doesn’t have to go that far. You can leave before it breaks you.
Artistic Approach & Style
A: When watching both films, what connects them for you? Is there a common thread?
AL: Both are rooted in my own experiences. Each has two main characters that mirror different versions of myself, one inside the problem, one outside, who has learned from it.
A: Identity, gender roles, and self-perception seem central to your work. Would you agree?
AL: Absolutely. Making films about my own experiences is therapeutic. You have to face yourself to write about yourself. I also love challenging how women are portrayed, showing them as complex, not stereotypical.
A: Where do you take your visual influences from? Film, art, photography?
AL: Everywhere. I’m inspired by movies, but also by art exhibitions and photography. I love films that look like paintings, where every frame matters. I Feel Like a Child was visually inspired by Wes Anderson, with symmetrical compositions, while Fiancé took cues from Saltburn by Emerald Fennell, especially the 4:3 framing. For me, visuals and story are equally important.
Premiere & Reflection
A: How was it for you to see your films in the cinema, and specifically in the Delphi LUX?
AL: Amazing. Watching them with an audience changes everything, you feel the energy in the room. It made me realise that my films belong in a cinema, and that I don’t have to wait for permission to show them. I can make that happen myself.
A: Were there reactions or feedback that particularly surprised or moved you?
AL: Yes, from filmmaker Lisa Brandt. She posted that my film made her “angry” in the best way, because it pushed her to reflect on her own work. When artists you admire respond like that, it’s incredibly motivating.
A: What did this premiere mean to you personally and for your artistic identity?
AL: It was essential. It felt like closure. Uploading them online wouldn’t have been enough. Showing them in a theatre gave me a sense of ownership, that I can create those moments for myself instead of waiting for someone else to make them happen.
Future & Advice
A: What’s next? Are you already working on a new short or even a feature film?
AL: Next will probably be something animated, I’ve returned to that first love. Eventually, I want to make a feature, but only when I can pay my crew properly. Filmmaking is teamwork, and I value that deeply.
A: What dreams or challenges do you see ahead?
AL: The biggest challenge will always be financing independent projects. But I think you can take that into your own hands too, save up, invest in yourself, and keep going. My dream is simply to never stop.
A: What are you most proud of when you look back at the past few years?
AL: That I finished the films. I struggle with completing things, so seeing them through was a big step. And I’m proud of the people I’ve met along the way, friends who believed in my scripts and helped me make them real.
A: What advice would you give to young filmmakers starting their first projects?
AL: Just start. Help out on as many sets as you can. Meet people, learn by doing. The first film won’t be perfect, but it’s the beginning of everything.
Interview by Luisa Gabriel
Text edited for clarity and length from Aaliyah Lynch’s voice interview, October 2025