A self-funded film shot in Malta and Ghana is to be shown at the LA Shorts Film Festival, which selects films for Oscar and BAFTA award consideration.

Cookie Box, directed by Malta-based Polish filmmaker Adam Żurawiecki, is inspired by true events and tells the story of Ghanaian migrant worker Palesa, who comes to Malta to work as a hospital cleaner only to end up unravelling a case of domestic abuse.

The production stars Ghanaian actor Joyce Everest alongside well-known Maltese actors Frida Cauchi, Joe Tanti and Mikhail Basmadjian.

Costing €35,000 to make, the film was entirely self-funded with actors, crew members and production houses working on the project for free.

Winning LA Shorts filmmakers have previously gone on to earn Academy Award and BAFTA nominations with 17 going on to win the Oscar in the past, according to the festival.

The production is also set to appear in two film festivals in Ghana and one in South America, and Maltese audiences can catch a screening at the upcoming Gozo Film Festival next month.

Its director says that, while the film is set in Malta, the themes it explores are universal, touching on the experiences of migrants and women – who represent more than two-thirds of the cast – across Europe.

“This film is about exclusion and people being seen as ‘the other’ in society,” he said. “I wanted to talk about this as a general problem everywhere... people forget that we are all human, and human dignity is so important,” he said.

He said the film had been inspired by true events and the experiences of those close to him but stressed the film touched on universal topics.

Commenting on the challenges of bringing the idea to fruition, Żurawiecki said while the costs of producing the film had been significant, he had been happy to put his own money into the film.

“I could have bought a car but what good does a car do for society? It was a challenge but we made it,” he said, adding the film had benefited from “enormous pro-bono support” from the Maltese actors who had appeared in the film for free.

It features a cast and crew from across 10 EU and non-EU countries.

He said many of the film crew had also worked on the film for free, adding that, although he had sent “hundreds” of emails to ask for support from the private sector, the response had been lacklustre.

“I was told by many companies and NGOs that it [migration or domestic abuse] was a ‘sensitive topic’ and that they wanted to support things that would impact the local community more,” he said, explaining he had not been eligible to apply for public sector financing.

Does the local film industry require more support?

Asked if he thought the local film industry required more support, Żurawiecki said while he thought funding opportunities and transparency of funding programmes could be improved, it was important that filmmakers band together to improve the local scene on a grassroots level.

“There is a lot to improve but filmmakers should collaborate more; we do need more money and more support programmes but, more than that, the spirit of comradery,” he said.

“If we all speak in one voice we can speak louder and be taken more seriously,” he said.

Last week, the Malta Producers’ Association (MPA) said the lack of local films screened during the Mediterrane Film Festival showed that Maltese filmmaking had not prospered despite claims to the contrary by authorities.

“Amid the prolific workshops and screenings, the conspicuous lack of Maltese films indicates that the success being lauded isn’t quite there,” it said, calling for a “film policy” and increased government funding.

Reacting to the move, the Malta Film Commission insisted it is no longer responsible for local film funding – now under Arts Council Malta – and that its primary role is to market Malta to attract foreign film investment.