THE EXECUTIONER

Short Talk with Delyan Ivaylov Mihaylov (director)

BEST SHORT FICTION FILM Category

22nd IN THE PALACE International Short Film Festival 2025

Bulgaria, Fiction, Bulgarian, 00:13:28, 2024

Synopsis: In a small village in post-liberation Bulgaria, during a time when public executions were a grim spectacle, the always cheerful executioner Bogomil finds himself entangled in a web of passion and betrayal. Despite his sunny disposition and love for life, he falls for the married Maria and, in a twist of fate, risks everything to save her husband from the gallows.

Biography: Delyan Mihaylov is a Bulgarian filmmaker whose work confronts the raw complexities of human existence through genre-defying storytelling. A graduate of the University of York, his student films garnered attention at international festivals, paving the way for his bold debut short "The Executioner". A film funded by Bulgaria’s National Fund of Culture, starring Bulgarian icons Tzvetana Maneva and Ovanes Torosyan. As he develops his first feature, he remains rooted in Sofia’s thriving arts scene.

Delyan Ivaylov Mihaylov, director

Toma Manov: When you're working on a film set in a specific historical period in Bulgaria’s past, did you consult with a historian during the writing or production process?

Delyan Ivaylov Mihaylov: Absolutely, yes. We wanted to tell a fictional story, but one that still respects the real events and the spirit of the time. So we worked closely with a historian and also an archaeologist throughout the process. That said, the film is framed as a tale, it begins and ends with a monologue by the character played by Tzvetana Maneva. Her role is to signal that this is a story, not a documentary. So we didn’t aim for 100% historical accuracy, but we did want to stay true to the atmosphere and context.

Toma Manov: How did you come to the decision to include someone who frames the story at both the beginning and the end?

Delyan Ivaylov Mihaylov: Precisely for that reason, to make it clear to the audience that what they’re watching is a tale. It’s not a literal historical account. These are not real people, even though the film is set during a real time in Bulgarian history. That framing helps manage expectations and adds a poetic layer to the story.

Toma Manov: And when casting the narrator, what were you specifically looking for?

Delyan Ivaylov Mihaylov: Honestly, we knew we wanted Tzvetana Maneva. That was the main criterion. At first, she wasn’t sure she wanted to be involved. But I gave her the script anyway. She read it, called me, and said she loved it. So she came on board.

Toma Manov: Do you know what convinced her?

Delyan Ivaylov Mihaylov: I think it was the general feel of the story. She connected with the element of magical realism, which, funnily enough, I wasn’t even familiar with as a term at the time. Apparently, it’s a literary genre. But she saw that in the story and loved it. She also really connected with the main character, Bogomil. That helped seal her decision.

Toma Manov: How did you approach the costume design, and were you able to include traditional Bulgarian clothing?

Delyan Ivaylov Mihaylov: We worked with a fantastic costume designer who specializes in traditional Bulgarian attire from specific historical eras. She did an incredible job. She collaborated with New Boyana Studios to source the costumes and conducted a lot of research. It really shows in the film.

Toma Manov: I imagine there must have been collaboration between the historian and the costume designer?

Delyan Ivaylov Mihaylov: Yes, definitely. Bulgaria has such a long and layered history, with different periods and distinct styles of dress. It was really important for us to reflect the right period accurately, not just in costumes but also in the setting. That kind of collaboration was essential.

Toma Manov: You mentioned pitching the script to Maneva, were you also involved in writing it?

Delyan Ivaylov Mihaylov: No, I wasn’t directly involved in writing the script. But I think another thing that helped convince her was the monologue. She really responded to it. It resonated with her.

Interviewer: Toma Manov

Editor: Martin Kudlac