Timo Vuorensola, Director

I’ve always been drawn to the weird. Growing up with Lynch, Tarkovsky, and Kubrick, I admired their willingness to dive into the abyss — to expose truth through madness, to observe reality through a cracked lens. Iron Sky was my first leap into that territory. Nazis on the Moon? Sure. A U.S. president teaming up with space fascists to win an election? Why not. It was absurd, prophetic, and somehow grounded — and looking at the world now, maybe not that far from reality. Today, we live in a world so off-kilter that if Moon Nazis landed on Fifth Avenue, nobody would blink. That’s the chaos I thrive on. That’s where Deep Red begins.

But it’s also where the challenge lies. The real world has gotten so mad and unpredictable that satire risks being overtaken by reality. Stories like Deep Red — once outlandish by design — now risk feeling understated. Yet therein lies the opportunity: to look even further into the future, to dig deeper into the madness, and spin it into a prophecy. Deep Red becomes a warning of what’s to come if we keep tumbling down this rabbit hole — a cracked mirror held up to tomorrow. Like Iron Sky predicted the rise of right-wing populist politics, the spread of ultranationalist ideologies, and the suffocating atmosphere of war and paranoia, Deep Red aims to be both a reflection and a forecast.

The idea of Deep Red has simmered for over a decade. Even as I wrapped up the Iron Sky saga, I knew my next destination: Mars. A Soviet utopia in the stars, fueled by bombastic propaganda, grand architecture, and echoes of a dream that never quite worked on Earth.

But life got in the way — until 2025, when a chat with Tero Kaukomaa cracked the dam. Out came everything: the politics, the satire, the madness of the last decade, demanding to be written. Suddenly, Deep Red wasn’t just one story. It was a trilogy.

The setting was clear — Communism on Mars. But the heart? That came with Simon Nash and Katya Dedov. He’s the clueless space hero, dropped into a world he can’t grasp. She’s the true believer, haunted by the sense that something isn’t quite right. Her perfect world feels… off.

Then it hit me. The real antagonist — an AI. Not just any AI, but a Soviet AI, trapped in endless analysis of humanity. Should it destroy us? Save us? Understand us? And what better form than a chess computer — the ultimate machine of logic, solving the ultimate paradox: what to do with humankind? Once the pieces were on the board, the story poured out — characters, scenes, ideas. A wild sandbox for sci-fi and conspiracy fans to explore and co-create.

Deep Red embraces the madness of our world by going deeper into it. It’s satire, it’s sci-fi, it’s absurd — and through it all, we’re searching for the truth. And music plays a vital part in that truth. With Iron Sky, Laibach showed us how powerful music can be in amplifying satire — wrapping authoritarian themes in thunderous, ironic anthems. Their sound elevated the films to something operatic, frightening, even poetic. With Deep Red, music isn’t just background — it’s part of the propaganda, part of the soul of the world we’re building.

And damn, it’s going to look good doing it. Visuals are my playground. With virtual production, AI-assisted VFX, and cutting-edge tools, we’re pushing boundaries with my long-time collaborating partner Samuli Torssonen again — building a world that’s not only insane, but stunning.

We’ve done it before. Watch us do it again.