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From Elephant and Castle to the Academy Awards: Hanna Aqvilin on her post-LCC career

A blonde woman wearing a green blouse with leaves in the background
  • Written byHenry Smith
  • Published date 31 January 2025
A blonde woman wearing a green blouse with leaves in the background

Hanna Aqvilin is a graduate from MA Documentary Film that has been involved in several films as a producer. Since leaving London College of Communication (LCC), she's been part of several production teams, working on films that have been recognised by major awards committees.

Spending several years at production house Archer’s Mark, she helped to create Roy Andersson’s People (2022), Being a Human Person (2020) and Netflix film Hold Your Breath: The Ice Dive (2022). Her most recent project, however, has seen Hanna take another big step – spanning film festivals, the Houses of Parliament and even the Academy Awards.

Working with Japanese director Shiori Ito, Hanna helped to bring to life the documentary Black Box Diaries, which was released last year to critical acclaim – debuting in January 2024 at Sundance Film Festival. The film sees Shiori document an investigation of her own sexual assault, in an attempt to prosecute her high-profile offender.

It’s a deeply personal project from someone piecing together the crime they suffered, pushing Ito to her physical and emotional limits. In the process, Black Box Diaries exposes Japan’s outdated justice system hoping to effect real legal and societal change.

At the moment, Hanna and Shiori are taking Black Box Diaries on the film circuit; having already featured at Sundance Festival, SXSW and BFI London Film Festival. Black Box Diaries will also have impact screenings at institutions across the world, including the EU Parliament and the House of Lords, as well as at universities including Harvard and Stanford in the United States.

The documentary has also been nominated for some of the most prestigious awards in the film industry. Following a shortlisting for Best Documentary at the upcoming BAFTA awards, the film has also recently been nominated in the Best Documentary Feature Film category at the 97th Academy Awards.

We sat down with Hanna to discuss life after the College and her career so far. She talks with us about the difference between producing and directing, her future plans and Black Box Diaries, her Oscar-nominated film.

Nominations for Documentary Feature Film at the Oscars

Tell us about your creative practice. Are there particular, themes, tools or techniques you like to use in your work?

Storytelling is at the core of my work. It’s about finding a strong contributor, someone whose story resonates deeply. Patience is also crucial – I’ve learned to wait for the right story, even if it takes years.

How did you first become interested in film and documentaries?

Journalism has always been a passion of mine. Starting with shorter stories, I realised I wanted to explore more creative ways to tell them. That’s when documentaries really became my focus.

Why did you decide to study MA Documentary Film at LCC?

I moved to London in 2015, aiming to start a career in journalism and documentaries. I believed a Master's degree in Documentary Film would help me break into the industry and develop my creative voice – and it truly did.

What are your favourite memories of studying at LCC?

The grad show stands out as a proud moment. Having my film screened at Bertha DocHouse, speaking about it on stage, bring the key contributor of my film and seeing the connection it created with an audience was unforgettable. For me, filmmaking is all about those moments of connection. I am also good friends with quite a few people from our class, who are film professionals today.

'Black Box Diaries', Shiori Ito, Hanna Aqvilin

Tell us about your career so far. What was the first project you took on after leaving LCC?

The first project was a BBC adaptation of [director of Black Box Diaries] Shiori Ito’s story.  We collaborated on an hour-long documentary for BBC Two with a production company. It was a different experience compared to the feature film, but it turned out to be invaluable for developing the project further and securing funding for Black Box Diaries.

How does producing compare to directing?

Directing is super hard on the soul, body and mind. Producing allows you to maintain some distance from the story, which is easier for mental wellbeing.  I also love collaborating with – and learning from – other talented filmmakers. It keeps my work dynamic and inspiring!

Let’s talk about your time at Archer’s Mark. What were your responsibilities, and which films did you take part in?

I worked at Archer’s Mark for 2–3 years as an assistant producer, involved in 2 projects. My role was very hands-on; planning shoots, booking crews, sound recording on location, as well as assisting an editor on a feature documentary.

Now, let’s talk about Black Box Diaries. How did you hear about the opportunity to be part of this film, and what made you want to get involved?

A Japanese friend living in London told me about Shiori and her case—a young journalist who publicly spoke out about her experience of her assault. It was shocking and rare in Japan. I felt compelled to reach out, and after our first Skype conversation in 2017, she shared her safety concerns. We brought her to London and that’s where the filming began.

How did this experience differ from working at Archer’s Mark? What activities were you involved in for the film?

At Archer's Mark, I learned how amazing films were made and made many valuable connections, but this project was much more personal. It was just Shiori and me at the start – no funding, no feature film experience. It grew organically from there.

'Black Box Diaries', Shiori Ito, Hanna Aqvilin
'Black Box Diaries', Shiori Ito, Hanna Aqvilin
'Black Box Diaries', Shiori Ito, Hanna Aqvilin
'Black Box Diaries', Shiori Ito, Hanna Aqvilin
'Black Box Diaries', Shiori Ito, Hanna Aqvilin

Black Box Diaries has been screened at SXSW, Sundance and London Film Festival. What was it like to attend these massive festivals?

Incredible. Premiering at Sundance was overwhelming and amazing. Sundance is unique and tough for documentaries to get into, so it’s been a privilege. Fingers crossed I can come back with another project some day in the future.

Black Box Diaries will also be the subject of impact screenings around the world. What would you like to achieve with these impact screenings?

We aim to raise awareness about power abuse globally, not just in Japan, and its link to violence against women.

What lessons have you learned about filmmaking after your time at LCC?

My mentor, Nancy Platt, taught me the importance of starting to film without waiting for a perfect storyline or preparation. She always encouraged me just to start by picking up a camera and start shooting, from there you will see if the story could last. Relationships are key in documentaries – how you nurture them as a director is key to shaping a project.

What are your future plans – for Black Box Diaries and beyond?

Next up is the BAFTA Awards in February and the Academy Awards in March. It’s exciting to celebrate with the team in London, where the journey started 8 years ago.

Finally, do you have any tips or advice for students graduating from MA Documentary Film?

Follow your instincts. If a story grabs your attention, act quickly and pursue it. Even if others have covered the topic, there’s always a unique perspective to explore. Building trust takes time – don’t rush into someone’s life expecting their most vulnerable moments. Show you’re willing to invest in the relationship, no matter the outcome.

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