My debut feature film, Two Weeks In, is a fully independent and self-funded project born from a deeply personal experience. In January 2020, I went on a first date with my now-wife. When the world shut down weeks later, we made the spontaneous, terrifying, and ultimately life-changing decision to quarantine together. This film is my exploration of that experience—the surreal intimacy, the accelerated vulnerability, and the quiet fear of wondering if a love forged in a crisis could possibly last.
I developed the story in a non-linear structure because I believe it reflects two truths at once. First, it’s how we truly remember relationships—not as a straight line, but as a mosaic of defining moments. Second, it captures the warped sense of time we all experienced during the lockdown, where days bled into one another. This structure mirrors the characters' own disorienting and accelerated emotional journey.
At its heart, Two Weeks In is a story about finding yourself while trying desperately not to lose someone else. It's about the courage it takes to be truly open with another person when you're still figuring out how to be open with yourself
My directorial approach to Two Weeks In was one of intimate, psychological realism, focusing on the contrast between our private vulnerabilities and the public personas we present. This meant crafting a distinct cinematic language to explore the characters' internal worlds:
A Structure Like Memory
The film is told non-linearly to mirror how we remember love—not as a straight line, but as a mosaic of defining moments. This structure allows the audience to experience the relationship's emotional landscape, jumping between the euphoric highs of connection and the raw, painful lows of conflict.
A Dual Visual Style
The visual language shifts with the characters’ emotional state. The "quarantine bubble" is captured with a warm, dreamlike intimacy, using soft light and fluid camerawork. This is starkly contrasted with the cooler, more composed visual style used for moments of conflict, creating distance to reflect their internal turmoil.