Faced with deportation after their visas expire two Russian students in Canada must grapple with their conservative upbringings and feelings for each other as they try to find a way to stay.

“I Do,” directed by Alexander Seltzer (10-33), is a poignant LGBTQ short film that delves into the lives of two Russian students, Alexei and Maksym, who are faced with deportation after their visas expire in Canada. As they grapple with their conservative upbringings and burgeoning feelings for each other, the film explores themes of toxic masculinity and the immigrant experience. Set against the backdrop of Toronto’s immigrant Russian community, “I Do” provides a heartfelt portrayal of two young men navigating their identities in a socially liberal society.

Seltzer’s deeply personal narrative reflects his own experiences and the stories he wished he had seen growing up. The film challenges dated stereotypes about Russian men, emphasizing empathy and intimacy while highlighting the internal conflicts many immigrants face. By showcasing the struggle to reconcile cultural traditions with personal desires and dreams, “I Do” offers a hopeful message about finding one’s path and embracing a more inclusive future. Through this film, Seltzer aims to amplify the voices of immigrants and contribute to a broader understanding of their unique journeys.

“I DO” is described as a very personal story. Can you share more about your own experiences that influenced the creation of this film?

I Do is in a lot of ways pulled from my background as well as the people I grew up with. I emigrated as a kid from Russia with my parents, originally to Canada before moving to the UK and ultimately returning to Toronto. So, from a young age, I was exposed to conflicting cultural values at school, out in the world both in the UK and Canada, and the values and expectations at home. Specifically about questions of identity and sexuality. Over the years, I’ve struggled with my understanding of my identity, preferring instead to try and fit in. So, I approached making this film as a way to reflect on my upbringing and how that’s shaped me.

How did you balance the depiction of conservative upbringings with the characters’ adaptation to a freer society in Canada?

It’s a struggle and one that I don’t see examined too often, particularly with regard to immigrants from Eastern European countries such as Russia with very conservative values. I didn’t want to be too overt in showing what their life was like back in Russia. I wanted to hint at their past, by showing the character’s discomfort in various ways. For Alexei, this manifests as a form of romantic yearning, and jealousy – of Mayksym’s relationship with Anya but also the jealousy of the acceptance he sees other people around him have. For Maksym, I wanted to show another side, one of avoidance and self-denial as a coping mechanism, and ultimately how damaging that is.

The film explores themes of toxic masculinity. What specific aspects of this issue did you want to highlight through the relationship between Alexei and Maksym?

Toxic masculinity as a theme is present in a lot of my work. With I Do, I wanted to explore how it can be a poison to one’s understanding of identity, as well as a roadblock to a meaningful connection to another person. Ultimately, Alexei just wants to feel truly seen and accepted by Maksym.

One of your goals is to break down dated stereotypes of Russian men. How did you approach this in the film, and what impact do you hope it will have on viewers?

Growing up, I’ve found that the way Russian men are depicted in popular culture is very one note. It’s almost always the rough and tough, no-nonsense man, showing almost no emotion or vulnerability. I feel that this depiction has inevitably manifested itself so I purposefully wanted to show two characters who are struggling with their identity and might not have the language to express themselves properly. So, I wanted to give them range, show them sharing quiet moments, laughing, and being intimate. When the characters get violent, whether with others or each other — it’s sad. It’s a failure to communicate. Ultimately, I hope that with I DO I can show a more nuanced view and offer a source of empathy.

How did you develop the characters of Alexei and Maksym? What traits or experiences were essential to their portrayal?

Honestly, I think there’s a lot of me in both characters. But that said, I wanted Alexei and Maksym to feel different but also have a shared baggage which would naturally draw them together. Whereas Maskym is brash, impulsive, and in denial, Alexei is introspective, solemn, and at his core a romantic. I think this is best exemplified by their reactions to practicing their interview speech – where Alexei scrolls longingly through their faked engagement photos whilst Makysm becomes frustrated, attempts to deny his emotions by drinking, flirting with Anya, and gets into a brawl. In terms of portrayal, I was lucky enough to work with Scott and Slavic who are incredible actors and brought so much of themselves to every scene, which left me pretty emotionally raw at the end of every day (in a good way!)

“I DO” delves into the conflict many immigrants feel when moving to a more socially liberal country. How did you illustrate this tension and its effects on identity?

From the start of the film, we see Alexei staring at a couple of male students holding hands and being intimate, and right away we can see his inner turmoil and Maksym’s reluctance. Then, it was important to me to show Maksym lying to his mother on the phone. He lies about his job, he lies about being in a relationship with a woman – all in an attempt to protect himself and what he thinks is expected of him. The guilt he feels about all that ends up bubbling up and causes him to lash out in ways that ultimately hurt Alexei but also himself.

The film explores empathy and intimacy within the immigrant Russian community. How did you convey these themes visually and narratively?

Visually, I wanted to highlight empathy and intimacy in a couple of ways. Fast cuts of a flowing river, flashes back to a “perfect day” that the characters had in the past as well as using close-ups of their hands in various contexts to highlight their connection.

The dance sequence in a dark Orthodox church was also a major element both visually and narratively tracking along with their relationship throughout the film. It starts with Alexei performing as Maksym watches. But as their relationship develops and they finally kiss, Maskym joins him and they dance together. But, towards the end, as their relationship falters, we see them ripped apart. Finally, the film is bookended with a surreal sequence, of Alexei floating above the river. It’s only by the end of the film, where Maksym and Alexei are sentenced to be deported, that they are finally able to be honest and accept each other – we cut back to see the emotional truth — Maksym holds Alexei as he starts to float off — finally at peace.

What were some of the biggest challenges you encountered during production, and what valuable lessons did you learn?

The sheer amount of locations was a challenge for me, as it meant we had to move fast and be flexible to changing situations. But thanks to a great production team we were able to make it all work. Also, I originally had a much longer cut of the film, but after working on it for a while and listening to trusted friends I ended up cutting out several scenes that I really liked. As I realized the film had to be focused on the relationship between Maksym and Alexei. So, in terms of lessons learned. I’d say try and limit your locations if you can (it’ll make your life easier) and focus on your characters and what they need to tell your story.