As brothers, Jamie and Dylan are continually at each other's throats, but once Jamie learns Dylan is leaving for good he does whatever he can to prevent him from leaving.

Inspired by Andrea Arnold's contemporary view on a fragmented Britain through her films, such as Fish Tank and Wasp, we will explore the nuances of family relationships and mental health. Jamie, like most younger siblings, wants to be just like his older brother, Dylan, but is not understanding of the complexities which accompany becoming a young adult. Jamie soon comes to the realisation that age is not indicative of maturity. 

The intangible drive which fuels us to pursue this film is that indescribable bond that is found between siblings; it eclipses all bounds of reason. We believe this inherently human bond is so fascinating, so compelling, and, sometimes, so utterly bizarre that we just had to make a film exploring what it means to be family in 21st century Britain. 

We are keenly motivated in crafting a cinema vérité style. The camera takes on the role as a voyeur, drifting from room to room as we watch the climatic day unfold within the Ellis’s house. The film will be shot in static wides and will utilise obscured framing techniques to create an alienated, fragmented feeling. 

We are extremely passionate about this story and are determined to bring our vision to life. However, as young emerging filmmakers we are unable to do it on our own. We need a bit of help. Your help. 

If we are able to raise £2000 we can execute our vision to the high standard we believe this intimate story deserves. We understand that we are currently in the cost of living crisis, however, any donation, no matter how big or small, will help us immensely in telling our story. 

CAST - 27.3%

This story focuses on the small nuances of human interaction, and in order to properly show this in the film we need a strong cast. But that does not come cheap... With your help we can hire actors of a specialised standard which will help bring the film to life.

CAMERA AND LIGHTING KIT - 20.8%

Professional camera and lighting kit are a necessity to enhance the quality of the film and future-proof the product for many years to come. 

LOCATION - 15.6%

The story revolves around the family home. We have successfully managed to economically source a house that bares the the aesthetic and geography we desire. It is paramount to the film that we use this location.

PRODUCTION DESIGN - 7.8%

Grounding the film in a strong visual world is very important in selling the story. We need the rooms to feel like they belong in the world of Brotherly Love to do our characters justice. 

TRANSPORT - 9.1%

Transport is something we can not avoid. We need to use, for example, a van to transport equipment from the rental houses to the location and to ensure the safety of our cast and crew retuning home.

CRAFT SERVICES - 3.9%

Keeping cast and crew happy is essential to the production of the film. Neglecting this can severely impact the morale of everyone involved, and therefore the film. 

POST PRODUCTION - 7.8%

Sound design is a big part of this film, a lot of critical action will happen outside of the frame. This is to emphasise Jamie's youthful naivety, as he doesn't notice the real adult issues going on around him. We also want this film to be professionally colour graded to further add to the emotional depth it entails.

AND FINALLY... CONTINGENCY - 7.8%

Although we are meticulously planning and preparing every aspect of this film, Murphy's law suggests that "anything that can go wrong, will go wrong". This contingency will provide us a safety net to fix the inevitable problems that will arise when we are in production; anything that is not used will go towards festival submissions.

Connor MacLaren - Director (Portfolio)

Connor is a young director living in London. He has built up a vast catalogue from directing music videos with his long time collaborators, David Zrolko and Jacob Dawes. Now, however, he is keen to take on the challenge of narrative filmmaking. His latest short film he wrote, produced by Jacob, was nominated for the London shorts film festival.

Jacob Dawes - Producer

Based in London, Jacob Dawes is an aspiring producer and 1st AD. With a strong background in short form Music Promos, as 1st AD, he is now keen to take on more responsibility which aligns with his drive and passion for film. With an extensive history of successful collaborations with both director, Connor MacLaren, and Cinematographer, David Zrolko, Jacob is excited for the challenge which lies within a narrative driven film; a continuation of the trios first, festival nominated, short film.

David Zrolko - Cinematographer 

Polish born David Zrolko is a London based aspiring cinematographer, currently working in the lighting department. From his experience in lighting, David has been able to his use his expertise when it comes to lighting his own work, creating unique frames every project he shoots. Throughout 2022 he has focused on shooting music videos, building a strong relationship with Connor MacLaren in the process. Now, they feel ready to take the challenge of shooting narrative work where David is going to bring the script to life.

Archie Dalziel - Editor

Archie is an editor based in London with a deep rooted passion for the British social realism genre.  He has recently explored such themes and concepts through his editing on Milani Mubane’s short film “Black Boys look blue” earlier this year. He is eager to bring his own experience into the edit, offering a sense of integrity into the social realism genre.

DECEMBER

Pre-production. (casting, recce's) 

JANURARY 

Pre-production. (rehearsals, camera tests)

FEBURARY 

Principal photography. (13th - 15th)

MARCH

Post Production.

APRIL & MAY

Distribution.