VIP Interview with Abrielle Kung-En Kuo, writer and director of the Award Winning Short Film ‘Ura’

Today, we introduce Abrielle Kung-En Kuo, the talented director and writer of the short film Ura. In this interview, we talk about Kung-En Kuo’s unique background, the meaning behind Ura and the remarkable use of sound effects.

Can you tell us something about your background and what brought you to filmmaking?

I fell in love with moving images at a young age. When I was little, I loved going to the movie theater and watching films by myself. Then, in high school, I started editing videos for the Student Association and making birthday videos for my friends. I loved seeing their reactions when they watched themselves in the videos I created.

You described your filming style as one that aims to “create immersive experiences that resonate with global audiences”. How do you achieve this sense of immersion through your direction? Do you think your unique blend of Eastern and Western influences plays a role in shaping this approach?

As a creative, I believe relatability is a powerful tool. I often find myself as either the only Asian in a Western setting or the only person with Western influences in an Eastern environment. This duality has made me an observer. Understanding and humor are great ways to show love to both.

As both the writer and director of Ura, when did the initial idea for the script first come to you? Was there a particular inspiration or moment that sparked the story?

The idea came to me while I was on vacation in LA in 2024. It was briefly called Part-Time, but by the time I finished casting, it had become Ura.

The intimate scene of two characters talking under the bedsheet is a cinematic device seen in films like Eternal Sunshine of the Spotless Mind and Romeo + Juliet. Were you inspired by these films, or did the choice come from a different artistic or narrative intention? Can you tell us more about this storytelling choice?

I discussed the scene with my DP, Eli Freireich before shooting. I’d like to share his answer to this question:

“I’ve seen this done a number of times but I don’t remember where or when. It’s a common trope, but it’s common for good reason. This works well for intimate dialogue scenes because it further shrouds the characters from the outside or shared world, allowing them a kind of sanctum where the membrane of bedsheets lets in light but traps inside confessions and fears which are probably right to be contained. I think this further speaks to the audience because it’s something that people occasionally do in real life to some degree, building this kind of place and hiding there with a loved one. Also, in truth I had no better idea for covering this scene. It seemed like a natural and immediate solution. I feel like in the absence of a better way, there’s nothing wrong with going back to the classics.”

The director Abrielle Kung-En Kuo and the official poster of ‘Ura’

Ura in Japanese is the part of the human body enclosed by the ribs and sternum. Why did you choose this title specifically? Can you tell us more about the story behind the title?

In Japanese martial arts like Aikido, Ura refers to techniques performed from the back or those that involve turning. The general meaning of Ura is “hidden side,” signifying secret aspects. I came across the idea of Ura while writing a scene that ultimately wasn’t included in this short film version. In the scene, a customer at the massage parlor explains the Japanese etiquette of Ura and Omote to Bev—where Ura refers to the home or private space, and Omote refers to public behavior and formality.

There are many overlapping qualities between Ura and the situations I explore in the film. Aikido is particularly challenging because it’s the only form of martial arts that requires you to focus on achieving a positive outcome for everyone, rather than solely on defeating your attacker. When I think of situationships in the modern dating world, I see a peaceful middle ground where both people linger before investing too much of themselves. But the paradox is that a battle is still a battle—there will be wins and losses.

Essentially, Ura means heart. I feel that Ura is proof of what is real. It’s not about what we perceive or how we are perceived. Maybe it only becomes apparent in moments of attack and confrontation.

Filmmaking has always been a challenging art form, but in today’s industry, independent filmmakers face unique obstacles, as many directors have recently spoken about. What do you think are the toughest aspects of making a film today especially when it comes to independent film?

Timeline and distribution. Things often come down to resources and sufficient planning. Independent filmmaking involves countless variables—technical, financial, and logistical—that can shift at any stage of production. A filmmaker carries a huge responsibility to organize resources and ensure that every element comes together at the right time. One trigger sets off the next, right? This is definitely a conversation I’d love to have more often with fellow filmmakers who have more experience than I do.

Directors work in very different ways with actors. Stanley Kubrick rehearsed every single take a hundred times until the scene came out exactly the way he envisioned it, others like Spike Lee and Sean Baker improvise a lot on set. How do you personally work with your actors especially being an actor yourself? Do you leave space for improvisation, or do you prefer to rehearse every single moment?

I appreciate energy, chemistry, and a sense of momentum in the room. Improvisation is great, and I believe rehearsal exists to create more freedom on set. Being on set is like hanging out for long hours together—anything can affect your mood. Rehearsals help maintain trust and harmony.

As we wrap up this year’s award season, is there a particular film—whether nominated for an Academy Award or not—that stood out as your personal favorite? What about it resonated with you the most, whether in terms of storytelling, direction, or overall impact?

Anora. The storytelling, direction, and overall impact were incredibly powerful. I was especially moved by Mikey Madison’s performance.

We were especially drawn to the locations in the film, which we imagine was shot entirely in New York City. How did you approach the location scouting process? Were there any specific challenges in finding the right settings to match your vision for the film?

I’m incredibly grateful that one of our major locations—Bowery Spa—sponsored us and provided full support throughout the shoot. I initially scouted several local spas with a rustic, antique feel, but nothing quite worked out. In the end, Bowery Spa turned out to be the perfect location. It gave us plenty of space to shoot and reset, and we were able to use the backroom for our iconic scene where Bev applies lip balm with her finger. Everything just fell into place so perfectly, and the owner, Angus Li, along with our biggest supporter, Penny, were truly the guardian angels of this film—huge shoutout to them.

Finding our apartment location was a bit more challenging. It was a rocky process, but just a week before the shoot, we finally locked down a place in Queens, generously provided by Ang Chiu. She was about to move back to Taiwan after living in New York for over 10 years, which made it feel even more special.

What can I say about the whole experience? Our project was truly blessed and surrounded by so much love.

Your movie features a rich use of sound effects that feel incredibly intimate and immersive, drawing the audience deeper into the experience. How did you approach the sound design process to achieve this effect?

Thank you. The sound design process began with our theme music, composed by Ray Suen (Bev boxing in the park and the ending), and the piano music by Sukisum (dream sequence). Then, it took me (March) over six months to finally sit down and compose the rest of the music—mainly in the marimba and percussion department.

Sound design and editing couldn’t progress simultaneously at first because I needed time away from the picture, the acting, and the screenplay to fully reconnect with my original vision. I spent a lot of time daydreaming and filtering ideas. Mallet sounds, in particular, give me a sense of warmth, and I’ve always felt more in tune with percussion-based music. For the bedroom scenes, I wanted to create a simple, intimate connection—something that feels good, natural, and happy.

Do you have any anecdotes from the filming process that you’d like to share with us?

Selflessness is important. Kindness is important. Discipline is important. Clarity is important. Communication is important.

Can you name three directors and/or three movies that made you choose to become a filmmaker?

Mike Nichols, Hou Hsiao-Hsien, Ben Stiller, David Lynch…

Love & Pop by Hideaki Hano, Pulp Fiction by Quentin Tarantino, Fallen Angels by Wong Kar-wai…

What’s next for you? What are you working on right now?

Ura. Lol! & producing livestream shows. I don’t know exactly where Ura is going next, but I’m doing my best to remain true to it.

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