Joanna Cristina Nelson

What do you remember about your time on campus?

I have great memories from my time at university. I believe these years were among the best in my life. Being surrounded by such an international community was truly special and had a big impact on me as a person.

How did you choose Constructor university?

It’s thanks to Marie Vivas (former Director of Admissions). I met her in Venezuela at a university fair, and she guided my family and me through the entire application and enrollment process. At that time, I was 17, trying to figure out what and where to study. Originally, I wanted to pursue acting, but my logical side drew me toward engineering and economics. I've always felt at ease in both analytical and creative fields, so it was tough to choose.

Who influenced you most on campus?

Great question. One of the first things I did at CU was audition for the theater company led by Renee Wells (Director of Arts). I can’t emphasize enough the impact he had on me. There were times I felt lost because I wanted to be an actress, but here I was studying logistics. Other people who influenced me included Professor Steven Ney, who sparked my interest in Design Thinking – a creative way of solving problems (I later attended the Hasso Plattner Institute of Design Thinking). I also remember Christoph Lattemann, who taught me the importance of punctuality!

CU isn’t typically known as a school for filmmakers, yet you’ve won awards and even sold a film to HBO. Was there a vibrant film culture when you were on campus?

Honestly, not really. Streaming platforms didn’t exist back then, and there wasn’t much related to films on campus. However, we did organize the Arts Olympix, which included a film competition. I participated and won 1st place. I still have the duck statue from that win displayed at the entrance of my house as a reminder!

However, the overall culture at CU taught me that you can be anything you want – a blend of many things. Interdisciplinarity is deeply rooted in CU’s culture, and that was very important to me. I believe the opportunities we had to start clubs and extracurricular activities really shaped who I am today. I was involved in the radio club, helped start a law and business league, joined various art clubs, hosted about thirty live events, participated in talent shows, and was even part of the USG, where I led the Foreign Relations Committee.

Where does your love for film come from?

I’ve always loved telling stories, especially those that can travel around the world and change people’s perspectives on important issues. For example, my film Hambre (German: Hunger), which addresses the crisis in Venezuela, is one such story. I also still have a passion for theatre and music.

You mentioned Hambre premieres in Munich this month. How do you go from idea to finished film?

My process begins as a “non-process.” I’ve always felt a need to write – whether it’s my feelings, anecdotes, stories, or character ideas. During my university days, I was in Venezuela when the crisis started escalating. I was at a café and ordered a coffee. First, they said "no milk." Then, "no sugar." Finally, they told me there was only tap water, not bottled water. Just then, a Venezuelan oil tanker drove by. The irony struck me, and I began writing scenes based on what I was experiencing. Five years later, I created and distributed a short film about food shortages, called Harina (flour in Spanish), which sold to HBO. This eventually inspired me to make a feature film, which took another five years to complete. After thousands of hours of work, Hambre was born.

How would you describe your style as a filmmaker? Who influenced you?

This is a tough question because I’m not really a “cinephile.” I intentionally avoided watching movies or TV for a couple of years to focus on developing my own creative style and writing. After that, I studied both classical and modern filmmakers and attended many festivals to watch films from various writers. I admire many international filmmakers, so it’s hard to pinpoint just one influence. If I had to choose, I’d say I’d like to make films like Kusturica, a great Serbian filmmaker who explored the disappearance of Yugoslavia and its consequences. His stories and style resonate with me, especially considering how what’s happening in Venezuela and the resulting mass migration share similarities.

Hambre is set in Caracas, Venezuela, amidst a triple crisis: immigration, economy, and identity. The protagonists include an idealist stuck in Venezuela and a spoiled girl who flees to Italy but is forced to return. 

Why did you choose Caracas and these characters? How do these themes transcend beyond Venezuela?

Hambre takes place in both Venezuela and Italy, which was intentional. I wanted to show the perspective of a Venezuelan who returns after migrating and no longer recognizes their own country. This reflects my own experience as an expatriate Venezuelan. This perspective allowed me to explore the crisis from a unique point of view. On the other side, I wanted to present a patriot who never left but feels like they no longer belong and must leave to find a future. By linking both migration perspectives, I explored themes of Venezuela, identity, and crisis. The script evolved over several years, but the core idea became clearer each time.