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Doomsday Blues

An environmental activist, Mel struggles to exist between two contrasting worlds: one where life proceeds as usual, with problems largely denied, and another where the climate crisis and ecological collapse are escalating. The film delves into Mel’s emotional journey of living in such a world and her challenges maintaining hope for the future.

  • Mel Dirikoc
    Director
  • Mel Dirikoc
    Writer
  • Mel Dirikoc
    Producer
  • Jeremy Williams
    Producer
  • Mel Dirikoc
    Editor
  • Project Type:
    Documentary, Experimental, Short, Student
  • Runtime:
    14 minutes 44 seconds
  • Completion Date:
    February 26, 2025
  • Production Budget:
    2,000 GBP
  • Country of Origin:
    United Kingdom
  • Country of Filming:
    United Kingdom
  • Language:
    English, Turkish
  • Shooting Format:
    Digital
  • Aspect Ratio:
    16:9
  • Film Color:
    Color
  • First-time Filmmaker:
    Yes
  • Student Project:
    Yes - University of the Arts London
Director Biography - Mel Dirikoc

Mel Dirikoc is a filmmaker and activist who explores the intersection of environmental and social issues through art. With a bachelor's degree in psychology and master's degrees in media and communication systems and Documentary Filmmaking, Mel's work blends emotional introspection with societal critique. Passionate about innovative storytelling, she experiments with new media and narrative forms to convey complex themes in fresh, engaging ways. Through her creative practice, Mel aims to inspire reflection and drive positive change in the world.

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Director Statement

In a world where most of us understand what’s happening around us on a rational level, we often remain emotionally disconnected from the deeper meanings beneath facts. That’s why, as a filmmaker, I’m drawn not just to information, but to the emotional and psychological undercurrents that shape how we experience reality.

Doomsday Blues was born out of my struggle to exist within a landscape of contradictions: ecological collapse alongside routine normalcy, overstimulation paired with numbness, urgency met with inaction. This overwhelming dissonance led me to visualize what words alone couldn’t express, in hopes of reaching others who carry similar feelings.

At a time when global crises feel both immediate and impossibly entrenched, I believe cinema holds the power to disrupt passive observation and spark something essential: imagination. Not just as an escape, but as reconstruction, a way to reshape how we see and relate to the world.