The Candle
The Candle, a powerful suicide prevention and awareness PSA, reminds men that seeking support is not weakness.
"You don’t have to weather the storm alone"
Built around the striking image of a candle flickering in a storm, The Candle explores the reality of male suicide, suppression of emotions, and the cultural stigma that stops so many men from asking for help.
When you get down to it, it’s shocking just how fragile our mental health really can be. Our brains are capable of doing the most extraordinary things, and yet, with the perfect storm of factors, everything can seemingly crumble into ruin. It’s a fittingly scary prospect – Dr. John Ogrodniczuk, founder of HeadsUpGuys, describes it as:
Feeling alone in a relentless storm, fighting to hold onto that last glimmer of light in your life” – but ultimately, it’s been demonstrated time and again that with the right support systems, encouragement and patience, these things can be appropriately managed and even overcome.”
Unfortunately, not everyone gets access to this aforementioned help… or is even willing to seek it out in the first place. Case in point, depression in men often goes undiagnosed and untreated due to a combination of social expectations, lack of awareness, and cultural stigma. After all, why would the group often told repeatedly to ‘man up’ and suppress emotions ever admit they’re not OK, especially with the knowledge that they may be judged harshly or even shamed for it?
This is something that Revolver Films director Oleksandr Herasymenko chooses to unpack in his latest film, ‘The Candle’. Rooted in his own experience with therapy, as well as the challenges that can often come with being a man who must acknowledge and confront internal vulnerability and sensitivity, this PSA – created in partnership with HeadsUpGuys – utilises the strong visual motif of a candle flickering in a storm to encompass the struggles of all those who don’t know how or where to turn for help. It’s striking, heartfelt and meaningful work, which, according to Dr. Ogrodniczuk comes with a clear purpose.
Together, we’re shining a light through the darkness, reminding men everywhere that help is here, and hope is real. You don’t have to weather the storm alone.”
Q&A with the Director
Revolver Films director Oleksandr Herasymenko speaks with Little Black Book’s (LBB’s) Jordan Won Neufeldt about creating a reminder to not weather storms alone, and why it was especially important to create such a message at this specific moment in time.
From the top, where did this idea for ‘The Candle’ come from? Why was this something you were keen to create?
The idea is rooted in my experience with therapy over the past two years. I often struggle to put adjectives to my emotions, so I turn to stories and fairytales – my own personal mythology – as a way of articulating what I’m going through. It could be a result of my interest in storytelling, or perhaps my traditional upbringing, where men don’t typically express their feelings. (Or maybe it’s a bit of both).
‘The Candle’ started with a simple juxtaposition: a candle and a storm. I was drawn to the contrast between something fragile and something fierce and destructive. The idea resonated deeply with me. I talked about it with anyone who listened, and people strongly reacted to it. A few of them had goosebumps and that’s when I knew – this was it.
Specifically, what made getting this PSA in front of public eyes such a high priority, and why was HeadsUpGuys the right partner for this undertaking?
I believe we’re at a critical point for men. There are very few positive role models, and those who do exist often lead us astray, mobilising our vulnerability for their own financial or political gain instead of guiding us with the tools to address mental health issues. It’s crucial to challenge the traditional narrative and normalise men seeking therapy, talking about their feelings, and understanding that vulnerability doesn’t equate to weakness. In fact, it’s the opposite: strength comes from authenticity and acceptance, not from suppression.
Unfortunately, men rarely reach out for help because it’s, again, seen as a sign of weakness… all while male suicide rates are high worldwide. This must change, and HeadsUpGuys was an obvious choice. Its values and mission aligned perfectly with this project. It offers educational resources, self-check tools, and lots more.
Tell us about casting – what were you looking for, and how did you find the right person to bring ‘The Candle’ to life?
First, I want to say it was an incredible casting day. There were many actors who genuinely cared about the issue and were passionate about contributing to the cause.
In terms of approach, I knew the goal of this project was to normalise therapy for men, so I thought, ‘OK, how do most men handle mental health struggles?’. Most of them toughen up, build walls, and wear what they think is impenetrable armor. I needed someone who could capture that energy.
When Steve Kuca walked into the room, we had a brief conversation, and I immediately knew he was the one. He had the perfect combination of sensitivity and the right physical presence to embody such a character. On top of that, he’s an incredibly dedicated actor. He always wanted to do another take… and then another one. Working with him was an absolute pleasure.
A good team is equally important to any project – who did you work with to bring this to life?
I had an amazing team of people who truly cared about the project. We scouted the location multiple times with my cinematographer, Mat Barkley, and my production designer, Alex Kennedy, trying to figure out the best time and conditions for the shoot. We didn’t have large fans to simulate storm conditions, but luckily, most of the shots were tight enough to get away with some leaf blowers, which Alex had to chase the talent with on the day.
Tell us about the shoot! How long did it take, where did you film, and what was the experience like? Do you have any anecdotes from on set?
Our first location was Toronto’s Woodbine Beach. We arrived at around four in the morning to set everything up before the blue hour. And after about two hours of rehearsing blocking, we patiently waited for the sun to appear on the horizon.
There’s a famous quote by David Fincher where he says, “you don’t know what directing is until the sun is setting and you’ve got to get five shots and you’re only going to get two.” Well, the same could be said for a sunrise… only we had about eight shots to get. With each new shot, we had to keep lowering the ISO. It was stressful, but somehow we managed to get everything we needed. I’d even say it felt like everything was working in our favour – a flock of seagulls flew right into the shot as if they were waiting for ‘action’. It was nice to see sea-faring birds supporting men’s mental health.
When we got the last shot, it started raining heavily (which was perfect for the scene, of course), but we had a cart full of cases, stands and other heavy equipment, and 500 metres of wet sand between us and our trucks. It took four of us to push the cart, and at that moment, I thought it felt like four Sisyphuses were pushing a single rock. I loved that rock, and I hope the other three Sisyphuses did too.
As for the therapist’s office, I knew it had to feel like the complete opposite of the beach, and that would inform both the camera movements and the colour palette of the set. The location had beautiful churchlike windows, and we decided they should be the key element in the composition. To contrast the chaotic, apocalyptic feel of the beach, we used more static and dolly shots here.
In total, it took us about 10 hours to get everything.
When it came to aesthetics and the look and feel, what were your main aims and ambitions, and how did you achieve them through lighting and colour?
The beach had to feel a bit otherworldly, like something from a dream or a myth. Beaches already carry that timeless quality – water has been here long before us and will remain long after all of us are gone – but I think the ambiguity of the story itself complements this feeling. Who is the man? Where is he going? Why is he holding a candle? We don’t know. All we do know is that he must carry it, and it’s a matter of life and death. The tornadoes, as I mentioned earlier, represent the existential threat to the fragile flame of the candle.
Across the board, how heavily did the final film rely on VFX? And as a whole, what was the post process like?
The tornadoes were the only VFX shot we had outside of additional raindrops on close-ups. We tried many things for this shot – a huge wave, a small wave, one tornado, five tornados – but something about three tornadoes felt right. The team at Pinky Swear VFX did an incredible job, and it was a privilege to work with them.
As for post, I’m extremely lucky to have had the team I did. Our colourist, Abe Wynen, tried to reinforce the oppressive blue to make the candle feel even more fragile as its light flickers, as if it’s running out of breath while attacked by the storm from all sides. And the office colours are warm and welcoming.
Meanwhile, Michael Barker – the editor from Outsider Editorial – nailed the pacing. After some minor adjustments here and there, the cut was done, and we spent more time talking about life and sipping coffee than redoing the version that he had prepared. (Then again, Pinky Swear and I tried many, many versions of the main VFX shot before we landed on the final version. I appreciate the team’s patience and desire to experiment).
Also, sound was crucial. The deafening, overwhelming storm needed to signify danger the second we opened the spot, revealing information that we couldn’t see because of how tight the shots were. Then, that’s contrasted by the peaceful atmosphere of the therapist’s office, where the only things you can hear are a clock ticking and subtle wind that moves the curtains. Thanks to our sound designer, Yuzhi Yan, for spending so much time on it, as well as Jakub Pietras, our composer from Poland, who wrote such a beautiful score. The melody adds to the existential tone of the spot, which wouldn’t feel the same without it.
Do you have any lessons learned from the making of this new campaign?
Always make it as personal as you can.
Outside of that, prepare. I’ve been learning that same lesson since my first project, and I think I’ll be learning it until my last one.
Finally, are there any elements of the project you’re particularly proud of? And why?
I am proud that we brought this project to life, and I’m proud of everybody who contributed to it: Revolver, Outsider, RedLab, Pinky Swear, and many other independent artists made it possible. So many people share the same concerns over men’s mental health and are ready to do something about it. But we all should be willing to do something about it. We must act before it’s too late.
