This is what our training sounds like through the eyes of the students themselves.

Година Първа: 

The Beginning The first year of our film class changed the way we think. For the first time, we truly encountered Cinema, had the chance to touch Art, and create. We were introduced to this new world with a simple task—"Tell a story." Each of us wrote something, read it aloud, and then came the real challenge—to write a screenplay based on our story. Through this process, we understood the real difference between literary and screenplay storytelling and learned the fundamental ways of telling stories in film. Every session, we discussed our stories, received guidance from Nadya, and then went home, inspired by the life around us, to develop our characters and deepen our conflicts. Afterward, we would gather again and continue the discussions. Each of us developed their own story, we voted, and we chose a screenplay to bring to life. With this decision, we began working on our first film, Good Kids. Every session, we explored the key aspects of a particular film department. Nadya, along with a professional from the respective department, led our lectures. We examined cinema from many perspectives—cinematography, sound design, directing, and even had an acting class. The highlight of the year was the filming—two incredibly intense and emotional days during which we learned so much. At the end of the year, we dedicated our time to reviewing the footage and beginning the editing process.

Година Втора: 

Quarantine, Short Films, and the History of Cinema At the beginning of the second year, we watched, discussed, and edited the rough cuts of Good Kids, and we had to re-record the sound. In the meantime, we read the stories from the previous year again and selected a new screenplay to film. Each of us chose a role different from the previous year, and the process of developing the film began again... But it was unexpectedly interrupted by the quarantine imposed due to the newly emerged virus. Instead of becoming discouraged, we doubled our efforts and began holding classes twice a week. On Mondays, we had the so-called Film History classes, where we explored significant films from history. In addition to Film History, each of us chose our favorite film, and every Monday, we would discuss one of them. We didn’t just talk about the plot and the message but also the cinematic techniques used in the film. On Fridays, we worked on our new individual projects. Nadya assigned us the task of filming a short film on the theme of "My Quarantine." Everyone worked individually, but we helped each other with ideas and advice. By the end of the year, we had our "first premiere"—we presented our completed projects online to our parents and friends. In the end, the film class turned out to be incredibly important for each of us during a time of isolation, loneliness, and fear. The short films we made became our outlet and our way to convey our message to the world.

Година Трета и Четвърта: 

Diary The focus during the third and fourth years was on completing the film Diary, which had been chosen in the previous year. The process was essentially the same as the one we followed during the filming of the previous movie, but with the difference that we had learned much more about cinema and had gained significantly more experience. We once again examined the different departments in filmmaking, but this time in more depth, and the lecturers were more numerous. The focus of the classes was also different—while in the previous years we had become familiar with the basic functions of the departments, this time we worked more practically and analyzed the script from different perspectives. Each class was different, yet also very similar to the ones before. The lecturer would start by praising the script and expressing confidence that it would become a great film. Then, we would move on to the text and discuss it through the lens of the respective department. None of the lecturers interfered forcefully with our work; they only guided us along a specific path and offered opportunities for us to continue on it. During these classes, we felt like children just learning to walk because, for the first time, we were allowed to work more independently. Each lecturer would say, "I’ll offer you something, but you will decide." We would discuss, give opinions, and present arguments, but each time, the discussion would end with an unspoken feeling of lacking the final judgment from the authority. I believe it was precisely during these years that we learned how to work on our own.

During this period, some of us also attended our first professional film shoots. There, we saw the real dimensions of cinema and had the chance to closely observe the work of the different departments. But most importantly, our passion was ignited even more.

During these two years, we also did many interesting exercises—writing screenplays based on a song, learning how to understand more about a person through their room and appearance, and analyzing both short and feature films.

One of the most memorable moments during these four years was the two premieres held at the House of Cinema. In front of a full audience, we watched our films on the big screen for the first time, and afterward, we presented them to the public.