Ethical Assistor
A mysterious man's perilous mission forces him to face the fragility of life and examine his own moral compass in a gripping narrative of survival and self-discovery.
In 2025 assisted dying will be a recurring theme across the mainstream media as new Assisted Dying bills are in the later stages of debate in both London and Holyrood. Ireland's bill has currently lapsed with the dissolution of the Dáil but had progressed prior to that. In Australia, a bill legalising assisted dying in the Australian Capital Territory (ACT) will come into law on 3rd November 2025. This short film is a timely and powerful conversation starter.
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Abtin TaharroziDirectorTrauma Model
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Abtin TaharroziWriterTrauma Model
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Amy FosterProducerRebel Nun, Le Masque
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Kwame AmaningKey CastDistance, Goodbye, Project Sunfyre
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Cecilia J LeopardKey Cast
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Wayne JonesKey Cast
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Katerina PowellKey Cast
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Harry LeggetKey Cast
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Mo FiruzziKey CastBreath Less, Surface, You
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Abtin TaharroziKey Cast
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Clint KattwinkelDirector of PhotographyThe Witch Hunter
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Ali VaziriEditorFish and Cat, Thief of Sleep, Code of Behaviour
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Arvin Fathi1st Assistant Director
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Eduardo GonzalesComposer
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Project Type:Short
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Runtime:14 minutes 1 second
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Completion Date:January 10, 2025
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Production Budget:2,000 GBP
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Country of Origin:United Kingdom
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Country of Filming:United Kingdom
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Language:English
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Shooting Format:Blackmagic 4K
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Aspect Ratio:4:3
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Film Color:Black & White
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First-time Filmmaker:Yes
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Student Project:No
Distribution Information
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Amy Foster - Massive Owl ProductionsSales AgentCountry: WorldwideRights: All Rights
Abtin is an Australian-Iranian filmmaker known for blending raw Iranian realism with Western high-concept ideas, creating bold and impactful narratives.
Abtin was born in Mashhad, Iran. He was raised in Tehran and lived there until the age of 21 when he moved to Australia to study. A graduate in Creative Arts from Sydney, he has worked as an art director in the UK and Australia, excelling in fashion and commercial direction while pursuing his passion for narrative drama.
Abtin comes from a working-class family but was fortunate to grow up in an artistic household. One of his mother’s uncles was a poet, and another was a film director who lost his right to make films after the 1979 Islamic Revolution. Abtin's mother, a women’s rights activist, sought asylum in Germany, while he sought asylum in Australia.
With this background, Abtin was exposed to social and political matters from a young age, and his films tackle these themes with a fresh perspective, crafting stories that challenge conventions. His debut short film, Trauma Model, won two international student film awards and earned eight nominations, while his experimental music video was showcased at the New York Video Art & Experimental Festival and the Canberra Film Festival.
Most recently, he collaborated with Massive Owl on Ethical Assistor, his first British project, further solidifying his reputation for socially conscious and visually compelling storytelling.
Ethical Assistor is a profound exploration of morality, the need for control over one's life, and the fragile line between life and death. With a strict moral code, Ajal (an Arabic name meaning "Time of Death") has adopted a deeply personal purpose: to assist those unable to end their own lives due to the legal prohibitions on euthanasia and assisted suicide in England. I wanted to create a character with a mysterious, dark background, one who seeks redemption by helping others in a world where every action carries consequences.
Visually, I aimed to craft a world that mirrors the darkness of the story, using almost clinical aesthetics to reflect Ajal's internal struggles. The setting also needed to feel grounded and authentic to the unsafe, working-class neighborhoods of London—areas where people cannot afford to travel to countries that facilitate assisted suicide.
Ultimately, the film explores the complexity of choice and the emotional cost of remaining detached in a world filled with suffering and moral ambiguity.
Why I made the Film:
The idea for this film emerged after a conversation with a client who shared the story of his terminally ill father. They had travelled to Switzerland, where his father chose to end his life on his own terms at an assisted dying facility.
Coming from Australia, where assisted suicide is legal in most states, I was shocked to learn that this basic right is denied to people in a country often seen as a model for modern human rights. The story lingered among the many other sad pieces of news we encounter daily—until one day, while walking the streets of East London, the reality struck me: not everyone can afford the £15,000 required for such a procedure abroad. I started wondering: what would an average Briton do in such a situation? With the prevalence of drugs and knife violence on the streets, the idea for Ethical Assistor was born. The film follows a broken man with a dark past who takes it upon himself to help those in need, guided by a strong personal ethical code, as he navigates the underdog streets of London. Ajal’s muteness reflects both his childhood trauma and the societal silence surrounding this issue—even among those trying to help.
Casting Choices:
Although Ajal is deaf, my casting choices were constrained by limited resources and time. During pre-production, my working visa was nearing its expiration, which placed financial and logistical restrictions on the project.
To ensure the film’s success under these conditions, I turned to trusted collaborators. Kwame, who plays Ajal, is a close friend whose dedication to his craft and our established trust made him the perfect choice. His commitment allowed us to push each other creatively to bring Ajal to life authentically.
The minimal use of British Sign Language (BSL) in the film, as Ajal primarily communicates with hearing characters through cards and a notepad, also aligned with Kwame’s skills. Despite these constraints, I approached the portrayal of Ajal’s muteness and deafness with as much care and sensitivity as possible.
The Team Behind the Film:
Behind every filmmaker is a group of friends and family who support them in the early stages of their career, and this was undoubtedly true for me.
I was fortunate that my cinematographer, Clint, was living in London at the same time. Clint and I studied together in Sydney and had collaborated on many projects. His involvement was one of the main reasons I committed to making this film.
Our sound recorder, Sara, had never handled sound equipment before. We spent two days learning together, and her work exceeded expectations, producing results comparable to professional sound mixers I’d worked with before.
I wanted Ethical Assistor to feel like a film from the streets, rather than imitating a polished Hollywoodesque. To achieve this, I relied on a skeleton crew of trusted friends and collaborators. Everyone who worked on the film was either a friend or a friend of a friend, and I am immensely proud of what we achieved together.
The Purpose of the Film:
Ethical Assistor tackles a deeply polarising topic at a critical time. Through the medium of film, I aimed to spark a nuanced dialogue about assisted death—humanising the issue and inviting empathy. Rather than providing answers, the film poses questions, encouraging audiences to reflect on their beliefs and biases.
What I Hope to Achieve:
With this project, I hope to initiate a broader conversation about morality and representation, challenge societal norms, and shed light on the struggles of marginalised individuals navigating complex systems. I believe Ethical Assistor offers a fresh perspective on a polarising issue, fostering understanding and dialogue. Thank you for considering my work and for helping bring this story to a wider audience. I look forward to discussing the film further and addressing any questions you may have.