No Film School: What was the inspiration for Young King?
Bryant T. Griffin: Young King was inspired by true events. I have a childhood friend that served in the second Iraq war post-September 11th. When he returned home from combat in 2005, he struggled to reintegrate into civilian life as he dealt with undiagnosed PTSD. Over the years, his mental health continued to decline until a tragic event occurred. When I heard about the tragedy, I was in shock, and I just couldn’t make sense of it.
Years later, while in the MFA directing program at UCLA, I knew I wanted to make a feature film, and I was exploring sci-fi ideas with social commentary since I’m a huge sci-fi fan and have a background in visual effects at Lucasfilm. Unfortunately or fortunately, none of those ideas coalesced and I couldn’t shake this tragedy. I almost became obsessed with trying to understand how something like this could happen.
That started a journey of years of research as I had access to my friend's medical records, anecdotal stories from friends and family, and court case documents that detailed his deteriorating mental health over time. All of this information illuminated the science and brain chemistry of PTSD, which back in 2008 to 2009, was just entering the public's awareness.
Young King
NFS: How have you found the Austin Film Festival? What have been some of your favorite experiences from the fest this year?
Selena Leoni: I’m a longtime alum of the Austin Film Festival, having had four of my short films selected there in both 2021 and 2023, so having Young King at the Austin Film Festival this year was truly a dream come true. I first heard about the festival back when I was in UCLA’s MFA program, researching places to submit "Heartland", the first short film I produced after moving to the US. It was a huge milestone for us when "Heartland" was selected for the 2021 Austin Film Festival, and our team had such an incredible experience that it made me want to come back every chance I could.
Since my first time attending in 2021, the Austin Film Festival has consistently delivered an amazing experience—especially for independent filmmakers like us. This year in particular, the programming team has been incredibly supportive, helping us promote our film by connecting us with local organizations and providing resources that made it easier to get the word out. But the best part for me this year without a doubt is the community.
From the day we arrived at the festival, we immediately connected with other filmmakers and bonded instantly, and by the end of the week, it felt like we were all besties. I can’t wait to collaborate with these talented people on future projects. Because of that, I’d say the Austin Film Festival is more than just a place to screen films—it’s also a space to build lifelong connections.
Griffin: The Austin Film Festival has been amazing! Everyone here has been so supportive of independent filmmakers and doing everything they can to make sure we get our films to the largest audience possible. From the programmers to the support staff that help connect us with local community organizations and press to help spread the word about our films, the effort has been incredible. I felt that the Austin Film Festival prioritized the independent filmmakers and that we aren’t relegated to being sideshows.
Honestly, this may sound cheesy or saccharin (and I promised I’m not being paid to say this) but starting with the filmmakers that I met through the No Film School podcast interview. Connecting with the other indie filmmakers that are on a similar journey, has been incredible, comforting, and therapeutic all at the same time. To know that you’re not alone on a journey like this. Those filmmakers have been our besties the entire festival. You kind of become family in a way through this shared experience of having your films screened here. The anxiety, the nervousness, the excitement, the relief, then having drinks afterward to reflect on everything after it’s all over.
Vittoria Campaner: The Austin Film Festival has been an incredible experience, especially for its strong support of independent films and the sense of community it fosters. I loved meeting new filmmakers and sharing ideas and insights about the challenges of making and distributing debut features. One of my favorite aspects was the commitment everyone showed in watching each other’s films—there's genuine support here that’s rare to find. It’s been inspiring to be part of a community that values collaboration and mutual encouragement.
BTS of Young King
NFS: What cameras did you shoot on (and why)?
Campaner: For Young King, we had the privilege of being awarded the ARRI Franz Weiser Grant, which provided us with a complete ARRI camera package. I want to take a moment to acknowledge and thank ARRI—this film’s visual identity wouldn't have been possible without their support.
We chose to work specifically with the Alexa Mini paired with Zeiss Ultra Prime lenses. This combination suited the film's handheld aesthetic and our real, often intimate locations. The Alexa Mini, beyond its renowned cinematic quality and beautiful true skin tones, was ideal for its versatility: it’s lightweight, compact, and adaptable, allowing us to maneuver easily in tight spaces.
The Zeiss Ultra Primes, on the other hand, were invaluable for both logistical and aesthetic reasons. Their light weight and ease of use made them perfect for our setup, while their clean, crisp, neutral look brought a natural, true-to-life quality to each frame. We wanted the images to feel as close to reality as possible, inviting the audience into an authentic visual experience that complemented the imperfect dynamic, chiaroscuro-inspired lighting and vibrant camera movement.
BTS of Young
NFS: The film has an almost documentary-style cinematography, what were the approaches used for achieving this style?
Campaner: The camera work adopts an observational and structured verite approach, juxtaposed with poetic depictions and love-letter montages of the people and the city Diondre once called home. An emphasis on faces guides the visual strategy of Young King, aimed at creating an intimate rendering of Diondre’s emotional journey but also the people around him.
The film revolves visually around the alternation and tension between two somewhat opposing styles: on the one hand, the observational verité style aimed at simply capturing the soul of a particular milieu, to which our use of both portraiture aesthetic and long takes belongs; on the other, the more impressionistic one that closely follows Diondre and his gaze, expressing his emotional and mental state at different points of the narrative.
Bryant and I sat down every Sunday at 3 p.m. to discuss a few scenes in depth each time. The language was already inherent in the script, but we needed to figure out the method to achieve it, considering our resources. During production, this method evolved into a stylistic and aesthetic choice. “Imperfect” and “raw” became part of our vocabulary. While the script was specific, nuances of dialogue and actions were left loose to allow performances to dive deep through improvisations. Part of the collaboration involved designing the perimeter of a situation where the action could take place, but within that perimeter, the camera and the performances needed to improvise a flow together, often rolling on rehearsals.
"Imperfect and raw" were words we used frequently because we designed a camera movement and long-take approach where, as well as the lighting, if I lost the scene, I had to learn not to panic but instead focus on where the camera was in the moment, allowing it to find the scene again organically.
Griffin: I knew early on that I wanted the film to feel grounded and as raw as possible to immerse the audience in this world with this character. I thought the film's subject matter and tone lent itself to the cinéma vérité aesthetic that would be the best way in achieving that immersion and sense of intimacy. On a practical level, I felt that this documentary style matched our budget limitations, enabling us to move quickly through setups and locations quickly. Instead of trying to pretend I had a big budget to pull off a polished slick film, I decided to embrace a grounded, raw aesthetic. I think Vitto and her team did an incredible job.
BTS of Young
NFS: Could you share a bit about what type of budget for the project and how the team was able to pull off the film with limited resources?
Selena Leoni: Young King is an ultra-low-budget film made possible by the incredible support we received from family, friends, and communities—both local and within the entertainment industry. It’s always amazing to see the surprise on people’s faces when they learn that the film was created on such a limited budget. Many people have commented that it “looks more expensive,” which speaks to the love and hard work our team poured into this project.
As independent filmmakers, we knew from the beginning that we had to be creative and resourceful to bring Young King to life, so we found every possible way to stretch our budget. With Bryant being from Charlotte, we had tremendous support from his community—from free locations and donated gear to home-cooked meals from mom, which honestly might have been one of the best meals! The North Carolina Film Commission and Charlotte Film Commission also provided tremendous support! Additionally, Bryant, Vitto, and I spent a lot of time during pre-production reaching out to industry contacts, which helped us secure free camera packages from ARRI through the Arri Franz Wieser Grant, as well as in-kind G&E packages from Cinelease and Illumination Dynamics.
By building these established partnerships and maximizing all our resources, we were able to create a film that stays true to our vision despite the financial constraints. It was really a team effort, and every member went above and beyond to make it happen.
Griffin: Pennies and favors. This film would not have been possible without the support of family, friends, and classmates. This production falls under the SAG ultra Low budget agreement, which for a 21-day shoot, is not much at all but I was fortunate to have a very resourceful team starting with Selena and Vitto that extended to all department heads. One of the most critical decisions we made early on was to film in Charlotte, NC.
The primary reason for filming there was one, because the actual events occurred in Charlotte, and we wanted to be as true to the tale as possible; second, it is where I spent my teenage years and early twenties. As a result, I was able to call in a variety of favors, including filming in the houses of friends and family, such as the Howell home, where the majority of the film takes place, which is my grandparents' home, and the NC Film Commission allowing us to shoot in local parks for free. We also received "local" discounts for accommodations for the team that I flew in from Los Angeles. As a bonus you have some home cooking for catering here and there.
Post Production for Young King
NFS: What inspires you all to be filmmakers and work on projects like this?
Griffin: Wow. That’s a deep question. For me, this project speaks to the core of who I am and what I represent and what I hope to accomplish as a filmmaker. This film is about family, it’s an impactful human experience. We are telling a story that has some familiar elements but hasn’t been approached in this way before and not through this specific lens and point of view. It’s a film that doesn’t provide easy answers but tries to explore this subject in an honest way hoping that it will have an impact on those that watch it. I hope to have the opportunity to continue making films that tackle tough issues and offer unique points of view and that sit with you long after the film is over.
Leoni: As a producer, I’m always drawn to stories that challenge my understanding and allow me to learn something new. When I first read the script for Young King and learned the real stories behind it, I was both shocked and moved. I couldn’t believe that veterans could be denied their benefits depending on how they were discharged—a situation that’s so deeply unfair. Beyond the important topic of veteran support, Young King also explores themes of family, toxic masculinity, and the importance of taking mental health seriously. These are universal issues that resonate with me personally and feel especially timely.
Working on projects like this lets us shed light on stories that need to be told, and that’s what truly inspires me as a filmmaker. And on top of that, it was an honor to work alongside such an amazing team of talented friends who brought their all to this film. Their dedication and passion made this experience even more unforgettable.
Campaner: This film has been one of the most meaningful experiences of my life, and I know I’ll carry it in my heart forever. It’s been a journey of growth—both technically and personally. Diondre’s story, though a difficult one to tell, is profoundly human and taught me so much. Bryant’s powerful vision, his collaborative approach, friendship, and leadership during challenging moments have been invaluable lessons. The passion, love, and dedication that each crew member brought to this project reflect exactly why I love making films like this. Working together in such a close-knit, passionate environment fuels my commitment to telling stories that matter.
For more info on Young King you can follow the film on Instagram or IMDB.
