Private Project

Den Tyste

"Den Tyste" shows a unique perspective on family pitfalls through the eyes of a deaf child.

  • Kai Dickson
    Writer
  • Kai Dickson
    Director
  • Liz Kraushaar
    Producer
  • Casey James Dean
    Key Cast
    "Leo"
  • Russell Shealy
    Key Cast
    "Jonas"
  • Joanna Heath
    Key Cast
    "Alicia"
  • Project Type:
    Experimental, Short, Student
  • Runtime:
    7 minutes 30 seconds
  • Completion Date:
    April 26, 2019
  • Production Budget:
    6,000 USD
  • Country of Origin:
    United States
  • Country of Filming:
    United States
  • Language:
    Swedish
  • Shooting Format:
    16mm
  • Aspect Ratio:
    4:3
  • Film Color:
    Black & White and Color
  • First-time Filmmaker:
    No
  • Student Project:
    Yes
Director Biography - Kai Dickson

Kai Dickson is a dual Swedish/American citizen currently working as a cinematographer out of Savannah, GA. He has a diverse background as a filmmaker, having directed and written over twenty projects including his first feature film which he shot during his senior year of high school. He’s also been a student of music and contemporary dance for most of his life, which gives him a unique sense of rhythm and pace that bleed into his film work.

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Director Statement

Though this film is not about being deaf, the concept of using that as a character trait was important to me because when one of your senses are missing, others become more apparent to you. A child that studies the way his parents are interacting, whilst not being able to hear what they say to each other was really intriguing. With every project, you want to find a way to bring your own cultural perspective to the table. In this case I wanted to explore making a film in my second language, which is Swedish. I set the events in Piteå, my mother’s hometown, and I set the period during 1968. Younger kids today are so immersed in their mobile technologies, and I really wanted to avoid that if I was going to make this from the perspective of a child. In order to best convey the late 1960s through the lens, the film’s Director of Photography and I agreed to shoot on Super 16mm. We’re both big fans of the format and felt it
would capture the actors in the most naturalistic and personal way possible.