Anastasia Silver

Director & Filmmaker

About

Anastasia Silver is a filmmaker and director with a background in acting.

In 2024, a social short film based on her original idea, Infinity Pool, was produced in Croatia, in which she also participated as an actress. The film explores social media obsession and the endless cycle of imitation — how people monitor others' lives online, copy them, and lose connection with their own identities. Infinity Pool has received four awards, including Best Film, Best Director, and Best Acting Performance.

In 2025, Anastasia wrote and directed her short film The Old Man and His Cat, shot in Düsseldorf, Germany. The Old Man and His Cat is a quiet short film about aging and companionship. When the world slowly becomes smaller, an animal can become a person's entire universe.

For an elderly man living alone, his cat is not just a pet, but his closest friend — the one who waits, greets him, and shares every moment of the day. Through everyday routines and silent presence, the film shows how animals give meaning, comfort, and a sense of being needed, reminding us that love does not fade with age.

Anastasia is currently studying directing at the New York Film Academy, continuing to develop her authorial cinematic voice with a focus on intimate, human-centered storytelling.

Anastasia Silver - Director & Filmmaker

Featured Films

2025

The Old Man and His Cat

Düsseldorf, Germany

A quiet short film about aging and companionship. When the world slowly becomes smaller, an animal can become a person's entire universe.

Writer Director
2024

Infinity Pool

Croatia

A social short film exploring social media obsession and the endless cycle of imitation.

4 Awards including Best Film, Best Director, Best Acting Performance
Original Idea Actress

Portfolio

Director's Statement

My directing approach is shaped by my international acting experience, including arthouse projects at the Dovzhenko Studio and filming in Sicily on the film Palma. Working as an actor taught me how direction is felt — not as instruction, but as emotion — and how important it is to translate intention into something an actor can truly experience.

I am highly driven by aesthetics. With a background in fashion design, I work closely with color, costume, and space as emotional tools. For me, every visual element in the frame supports the actor's inner state and the story's emotional truth.

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