The BAFTA-winning short film *Rock, Paper, Scissors*, directed by Franz Böhm and produced by Hayder Rothschild Hoozeer, follows the true story of a young Ukrainian civilian named Ivan. Set near the frontline of the Russia-Ukraine war, the narrative centers on Ivan helping his father operate a makeshift bunker hospital. When Russian bombs eliminate safer alternatives and soldiers approach their location, Ivan must make perilous, life-or-death decisions to protect the vulnerable. The 20-minute production, backed by the National Film and Television School, has earned multiple accolades—including top honors at HollyShorts London—and secured a 2026 Oscar shortlist placement.
In an interview with Deadline, Böhm and Hoozeer discussed the real-life inspiration behind the project. Böhm met Ivan in the United Kingdom, where they formed a friendship and discussed the moral courage required of Ivan during the conflict. Tragically, the real Ivan was killed on the frontline in Ukraine while the film was in production. His death profoundly impacted the filmmakers, leading them to alter the project’s original ending out of ethical respect for his memory.
Despite the ongoing dangers of the conflict, the filmmakers worked closely with the Office of the President of Ukraine, the Ministry of Culture, and local communities to maintain authenticity. They brought Ukrainian actors, including lead star Oleksandr Rudynskyi, to the U.K. for filming. Although Rudynskyi learned of a close friend’s death upon arrival, he remained committed to authentically portraying Ivan’s story.
To immerse viewers directly into the protagonist’s harrowing experience, Böhm utilized a handheld camera style and meticulous sound design, ensuring the audience never feels more informed or distanced than Ivan himself.
Hoozeer explained that the title *Rock, Paper, Scissors* serves a dual purpose: it symbolizes the loss of Ivan’s childhood innocence through a familiar children’s game, while also mirroring the random nature of survival and the lack of true victors in war. Böhm emphasized that the film is not fundamentally about war itself, but rather about how ordinary people behave when protective systems collapse.
Reflecting on the film’s global reception, Hoozeer noted that international audiences across diverse regions have connected with its focus on civilian vulnerability, high-pressure decision-making, and resilience rather than conventional Hollywood heroism. Böhm, addressing his attraction to stories about oppressive regimes following his documentary *Dear Future Children*, shared that cinema serves as a vital medium for fostering empathy, understanding subjective human experiences, and encouraging societal dialogue around complex political conflicts.
