The Scientists-as-Filmmakers project is a unique initiative designed to bridge the communication gap between scientists and the public. Often, scientists struggle to present complex findings in a way that resonates with a broader audience. To address this, the Swiss Science Film Academy launched a program that empowers scientists to use dramatic storytelling and filmmaking as tools to make their research more accessible and engaging. Through hands-on training, participants learn and apply visual storytelling techniques, ultimately creating short films that translate their scientific work into compelling, relatable narratives.

Driven by my personal passion for exploring humanity and culture, I chose a topic in applied psychology: Historical Trauma. Collaborating with three other team members from diverse backgrounds (Figures to the right), we explored this topic, which examines the intergenerational transmission of emotional and psychological wounds within a community, often rooted in systemic oppression, violence, or cultural destruction.

We found historical trauma particularly powerful in cinematic terms, as it brings focus to people’s deeply personal, often invisible wounds. By using documentary storytelling, we aim to create a sense of intimacy, drawing audiences closer to these experiences and illuminating their enduring impact.

Dr. Eda Elif Tibet (left), a documentary filmmaker and anthropologist, alongside Dr. Celestin Mutuyimana (right), a psychologist.

Team members familiarize themselves with cinematography equipment, including cameras and lenses.

Elif is interacting with her surroundings, demonstrating an expressive moment of storytelling or observation within a natural setting.

Céline, our team member, a physicist, captured in an intimate moment of contemplation, set against a serene natural backdrop.

Céline sits calmly, her camera resting on her lap, as she reflects amidst the tranquil natural surroundings.

A little creature :)

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The film begins in a sunlit world that seems almost idyllic, a fleeting mirage of normalcy. A Rwandan man, harvests in his backyard. His hands move with practiced ease, gathering the fruits of the earth in a quiet rhythm. To the untrained eye, this is peace. To anyone watching closely, the story is entirely different. There’s something in his eyes - a shadow, a storm, the unmistakable weight of a past that clings too tightly.

We wanted to invite the audience into his life, to sit beside him in this uneasy stillness, and then show them the cracks beneath the surface. So, we followed him into his kitchen. He prepares a meal with his friend, a moment of quiet companionship, laughter exchanged in glances and gestures. Together, they chop cabbages, the rhythm of their knives creating a hypnotic cadence that feels almost meditative. But even in this calm, history stirs beneath the surface.

The friend finishes cutting and moves to place the knife on an empty plate, but something shifts in the air. The man flinches as if struck by an unseen hand. His breath hitches, his hand withdraws sharply, recoiling not from the blade but from the memory it stirs. It’s a moment that lasts a second but reverberates with the force of generations - a flash of historical trauma surfacing in the most mundane act.

This is where the story begins: in these fleeting moments where the past collides with the present, leaving behind scars that are as vivid as they are invisible. Through these small, human gestures, we wanted to reveal the enormity of the wounds carried in silence - and the resilience that allows them to endure.