In 'Breakups Suck,' a person is unable to part ways with his vampire girlfriend.

      “I never anticipated remaining in Albuquerque, New Mexico after high school,” shares Ben Arndt, the director of the entertaining and visually captivating new short “Breakups Suck.” “Yet, to my surprise, the film industry gradually made its way into my neighborhood.”

      In recent years, Albuquerque and Santa Fe have gained recognition for attracting significant investments from major players like Netflix and NBCUniversal. However, Arndt embodies a resourceful, innovative DIY scene — he created “Breakups Suck” as part of his graduate project at the University of New Mexico.

      “Breakups Suck” screened at the Santa Fe International Film Festival on Saturday and will show again on Tuesday. The film follows a young man named Luca (Jack McLaughlin) who wants to end his relationship with his girlfriend, Ruby (Willow Glenn), who just so happens to be a vampire and thinks in terms of forever.

      We spoke with Arndt about the inspirations behind his delightful short, beginning a film career in Albuquerque, and his passion for every Godzilla movie.

      Ben Arndt on Creating ‘Breakups Suck’

      (L-R) The “Breakups Suck” crew: Ana Buan (G&E), Chance Holmes-Snowden (DP), Kyle Julinski (blue mask, CAM AC), actor Jack McLaughlin, Ben Arndt (Writer/Director), James Martinez (G&E), actor Willow Glenn. Photo courtesy of Arndt.

      MovieMaker: The film’s aesthetic is so distinctive — it nods to Nosferatu while the low-fi black and white evokes Clerks. The combination of horror and slacker vibes is both disorienting and enjoyable, as you never know what direction the movie will take. How did you decide on the film's look?

      Ben Arndt: The film's aesthetic stemmed from a few different inspirations, one of which is A Girl Walks Home Alone at Night. The 2014 Iranian black-and-white vampire movie significantly influenced both the visuals and its portrayal of vampires as mythic figures in contemporary urban settings.

      Additionally, I have a history of working predominantly in black and white — my previous project, “The Box at the End of the World,” was also in black and white. It was shot by the same cinematographer as “Breakups Suck,” Chance Holmes-Snowden. There’s something about black and white that resonates with me as a filmmaker; the absence of color often pushes me to be more deliberate in my framing and blocking. Plus, Chance excels at using minimalist lighting to achieve stunning contrasting shots.

      MovieMaker: I’m a fan, pun intended, of a touch of color amidst black and white. You effectively incorporate a single blood red envelope. How did you create that effect in 2025? I imagine it was different from how Spielberg did it in Schindler’s List?

      Ben Arndt: The red color effect is credited to my incredibly skilled colleague Noah Tucker, a local colorist specializing in post-production. He used Davinci Resolve, which can track the motion of specific objects and, with a color wheel, isolate particular shades. This process involved a lot of trial and error, often requiring us to frame out certain elements manually. It was truly a labor of love! I suspect it differed from Spielberg’s method.

      MovieMaker: What do you think of the Albuquerque film scene and living in ABQ overall? Did you grow up with Breaking Bad, and did it shape your ambition to work in film?

      Ben Arndt: I recently graduated from the University of New Mexico and have lived in ABQ my entire life. Though Albuquerque may not always be visually appealing, its people and culture genuinely set it apart. While there’s a significant studio industry presence in this city, I would argue there’s an even more substantial indie filmmaker community here.

      Many individuals possess untapped creative potential and a strong desire to express themselves. This leads to various groups of filmmakers collaborating and pooling resources to create art that is unique to this area.

      MovieMaker: What are your overall influences?

      Ben Arndt: My primary influence is undoubtedly the Godzilla franchise. Growing up, my dad and I would bike to the local Hastings every week to rent a Godzilla film for us to watch together (there are 38 films in total — kudos to his patience).

      The original Godzilla, known as Gojira, resonated with me for its ability to weave a larger-than-life mythological character into a heartfelt and emotional narrative. Relating this back to “Breakups Suck,” it was essential to ground the mythical idea of vampires in something relatable like a breakup. Other directors who inspire me include Kiyoshi Kurosawa, Ryusuke Hamaguchi, and Denis Villeneuve.

      “Breakups Suck.” Photo courtesy of the film.

      MovieMaker: How did you gather your cast and crew?

      Ben Arndt: My cast and team consist of classmates and friends I’ve