Burn of the Sun
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A Regina Alfnes film

A young woman looks back over her shoulder at the camera, holding a blue scarf over her face. Orange backlight sets her hair aglow, and a blurred figure in gauze stands behind her.
Two young people sit on a rock in golden backlight. The woman in front looks into the camera over her scarf, wearing copper goggles and a mustard knitted scarf. Behind her sits a figure wrapped in gauze.

A dystopian science-fiction short film

In a dystopian future where sunlight kills, two twins must fight a battle between their instincts that tear them apart, and the bond holding them together.

In pre-production · Production planned for February 2027

Enter the world

Is blood thicker than water?

The sun was supposed to keep us alive. Instead, it watched us die.

Two figures in gauze and copper goggles stand barefoot on pale sand, casting long shadows. Behind them a dark bank rises through haze and backlight, with a dead tree on the edge.

The world

A world that forgot how to live

Burn of the Sun is fiction, but it starts from real science. High above us, the ozone layer absorbs most of the sun’s harmful UV-B radiation. In the 1980s, chemicals made by humans tore a hole in it, and only a worldwide agreement, the Montreal Protocol, set it on the road to recovery, which is expected to take until around 2066. The threats have not disappeared: nitrous oxide from fertilisers and industry is now the largest ozone-depleting gas we release, and no treaty limits it. In Australia, where the film is shot, two in three people are diagnosed with skin cancer by the age of 70. Burn of the Sun takes these truths one step further. If the sky can no longer protect us, will people?

Why this film

  • A story about choosing your own path

    At its heart, the film is about being young and refusing to let other people, or the world around you, decide who you are allowed to be.

  • Made by people who believe in it

    A Norwegian–Australian crew is giving its time for free. Every contribution goes straight into what you will see on screen.

  • A world you can touch

    Real locations in the Australian landscape, and sets, costumes and props made by hand: patched, weathered and built to last through the shoot.

Be part of the journey

The story

Three acts and a question

  1. Two young people face each other in front of a dark wall as a gust of wind whips the blue scarf of the woman on the right.

    Act I

    Two against the light

    We meet twins Kade and Agnes on the road, with no one but each other. Before the sun catches them, they find an abandoned cabin to shelter in.

  2. Two young people stand shoulder to shoulder on the sand and look into the camera, faces covered with gauze and copper goggles. Behind them warm haze glows against a dark wall.

    Act II

    A stranger in the dark

    A dangerous man finds them, and Kade fights to keep them both alive. But the closer Agnes looks, the less the stranger seems like a threat.

  3. Close-up of a young man with his face wrapped in sand-coloured gauze. Only his eyes show beneath the copper goggles as he looks out at a pale, empty sky to the left.

    Act III

    A dream, said out loud

    Agnes finally dares to share a hope of her own. Kade shuts it down. And the twins keep walking.

  4. A young woman with auburn hair and freckles looks straight into the camera. Copper goggles are pushed up on her head, a blue-grey scarf is wrapped around her neck, and hard side light casts a shadow across her face.

    Theme

    Survive, or live?

    How do you choose between your twin and a path of your own?

The characters

The ones who walk by night

Casting is still open.Apply here

A young man seen from below against a grey sky. His head is wrapped in sand-coloured gauze, and he wears round copper goggles, a grey T-shirt and a striped scarf over his shoulders.

Kade

19The twin who keeps the rules

Logical, disciplined and protective. Since their parents died, Kade has taken on the role of protector, because someone has to. He trusts routine, tracking and rationing over hope, and he believes that trusting the wrong person can be fatal.

A young woman in strong backlight holds her hand over her head. Her face is covered by blue-grey gauze and copper goggles, and the sun glares behind her.

Agnes

19The twin who wonders what else is out there

Intuitive, curious and hopeful. Agnes trusts her instincts and believes in people, even when it is dangerous. Beneath her teasing, she is the one asking whether surviving is enough.

Adam

60sA stranger in the desert

An older survivor, weathered by the sun and carrying his own history of loss. He appears out of the dark, and the twins cannot tell whether to trust him.

Director’s statement

In her own words

Burn of the Sun is not simply about a world where sunlight is dangerous. It is about the difference between surviving and living.

Regina Alfnes, writer and director, in warm firelight

My passion is to create films with an emotional core. Burn of the Sun is a way to challenge myself with a bigger, more genre-driven world, but I want the drama to stay at the heart of it. However harsh the world around them, the film is about two people trying to understand each other.

Sometimes, what protects us can also limit us. The harsh daylight represents a world that offers little protection. The darkness creates moments of intimacy, uncertainty, and human connection. The film’s scale should never overwhelm its humanity.

I am a twin who moved away from my home country, leaving my twin brother behind. Kade and Agnes are heavily inspired by the two of us: one logical, one intuitive, bound by the same upbringing but pulled in different directions. Writing this film has meant asking what happens to that bond when two people want different things.

Regina Alfnes — writer & director

Two young people in gauze and copper goggles stand on the sand in front of a dark cliff. The sun breaks over the edge behind them, and a dead tree stands in silhouette against the sky.

Support the film

Help bring Burn of the Sun to life

The film is in pre-production, with production planned for February 2027. Your support helps turn the vision into a finished film: the locations, the world on screen and the crew who build it. Before the cameras roll, you can become part of the journey. Everyone who supports the film will be thanked by name in the end credits.

The campaign opens soon

We are preparing the fundraiser now. Check back here to hear the moment it opens.

  • Giving from outside NorwayGoFundMe (link coming soon)
  • Giving from NorwaySpleis (link coming soon)

Follow the film on Instagram

Other ways to help

Not every contribution is money. If you or your company can help with equipment, locations, transport, sponsorship or other production support, we would love to hear from you.

For organisations and sponsors

Would your business or organisation like to partner with the film? In return we can offer credits in the film, promotion on our social media and other visibility. Our team also includes talented editors and photographers, and we are open to exchanging their work for sponsorship.

Get in touch

Where the money goes

Building the world

Burn of the Sun is an independent production, and no one on the crew is paid: everyone is giving their time because they believe in the film. That means every dollar and krone raised goes straight into what you will see and hear on screen, and into getting the finished film out into the world.

  1. Production design & set dressing

    Turning an old cabin and an open landscape into a world after the sun: set dressing, props and the worn, weathered surfaces of a world where nothing is new.

  2. Costume, hair & makeup

    Layered, patched costumes, goggles and wraps for every character, and makeup for sun-scorched skin, built to hold up through long days and nights on set.

  3. Locations & permits

    Location fees, filming permits and the logistics of shooting at a remote cabin, on a dry private road and around a rocky campfire site, much of it at night.

  4. Transport & vehicles

    Fuel and vehicles to move cast, crew and equipment out to remote locations, and bringing a weathered car to set.

  5. Camera, lighting & grip

    Equipment hire for the images the story needs: lenses, lighting for night exteriors, and the grip gear that lets us light a landscape by firelight.

  6. Catering & accommodation

    Long shoot days and night shoots far from town. Feeding a volunteer cast and crew well, and giving them somewhere to sleep near the locations, is the least we can do.

  7. Safety & insurance

    Production insurance, a first aid officer and a dedicated fire safety officer for the campfire scenes, so that everyone gets home safe.

  8. Post-production

    Colour grading, sound design and the final mix, original music, and visual effects such as completing the landscape in the opening shot.

  9. Festivals & distribution

    Festival submission fees, subtitles and the files and formats needed for screenings, so the film can travel to festivals and reach audiences.

Timeline

The road to the screen

  1. Oct 2026

    Test shoot

    The first concept stills of the world, the costumes and the light.

  2. Now

    Pre-production

    Script, locations, crew and production design are coming together.

  3. Date coming

    Fundraiser

    The campaign opens, and you can help bring the film to life.

  4. Feb 2027

    Production

    Shooting in Australia, mostly by night.

  5. 2027

    Post-production

    Editing, sound design, music and colour.

  6. Then

    Festivals

    The film’s first audiences will be at film festivals. Screenings will be announced here once they are confirmed.

Questions

Before you give

Can I give from outside Norway?

Yes. Donors outside Norway can give through GoFundMe, and donors in Norway through Spleis. Both links will be added here when the campaign opens.

Who receives the money?

The money is received by the film’s core production team: writer and director Regina Alfnes together with producers Alice Gregory and Julia Jakobsen. Every contribution goes straight into the production of Burn of the Sun. No one on the team takes a salary, so your support goes to what you can read about under “Where the money goes”: building the world on screen, the shoot itself, and getting the finished film to festivals and audiences.

Are the photos from the film?

No. The photos on this site are concept stills from a test shoot in October 2026, made to explore the look of the world. The film itself will be shot in February 2027.

Where can I see the film?

Film festivals come first. Many festivals only accept films that have not been published online, so the full film will not be released online straight away. Screenings will be announced here.

Can I be part of the film?

Actors and crew who want to get involved can find out how on the casting page.

Can companies help with equipment or locations?

Yes, and it means a lot. Support in kind, such as equipment, locations, transport or sponsorship, is just as valuable as money. Get in touch through the contact page.