The Team

  Director / Writer- Nia Childs

  Nia is a first-time writer / director and has worked as a creative producer      in the film industry for nearly 8 years. She has worked for various film     festivals and high-profile organisations including BAFTA, Everyman Cinemas and Sheffield Doc/Fest. She has also worked on several short films, and a feature film being released in cinemas this summer. This is the first of a series of films that Nia is looking to direct which explore women who are directly or indirectly involved in crime.

Producer- Bianca Di Marco

Growing up between New York City and Florence, Italy, Bianca Di Marco has refined her craft in producing by working across a wide variety of creative projects: rom stills photography, to commercials, music promos, online content, animation and documentaries. Bianca has racked up Producer and Production manager credits on projects shot all over the world, from Rome, Milan, Madrid, London and New York and has worked with some of the biggest names in in the commercial and film industry.

                           Cinematographer- Deepa Keshvala

After graduating from London College of Communication and working for a short time as a directors assistant, Deepa moved in to the camera department as an AC, working with a number of esteemed DOP’s. She was soon offered an opportunity to shoot 2nd Unit for Daniel Wolfe, leading to a significant period of 2nd Unit work with Wolfe and various commercials directors; on award-winning projects at Somesuch.

As a cinematographer, she has been working closely with young directors and new signings at Somesuch, Pulse and RSA. Deepa's strong working relationship with Daniel Wolfe and Robbie Ryan has allowed her to elaborate on an innate ability to adapt to (and photograph) a vast spectrum of real environments and people; evident in her choice of projects to date.

She is repped by French agency API Corp and intends to continue making honest, visceral and socially-minded films with a photographic eye.

                                              Editor- Mdhamiri a’ Nkemi

A BIFA nominated award-winning editor based in London, UK, Mdhamiri brings a collaborative and creative approach to everything he does. Represented by Gorilla Editors, he has worked for clients such as Nike, UNHCR, Channel 4 and the Endemol group on projects that have taken him around the globe. He has cut both fiction and documentary, feature length and short form, premiering at festivals such as Sundance, Berlinale, LA Film Festival, London Film Festival, amongst others.

What We Need

We passionately feel that Shona’s story needs to be told. She is a character who represents just one of many women who are involved in a lifestyle that others may find hard to understand. In order to do the story justice, and to not compromise on certain key elements of the plot which some publicly funded bodies may find it hard to put their names behind, we need to raise £16,500.

We know this is a LOT of money. And so we wanted to break down some of the key costs for you so that you can trust that your money is being spent wisely.

•  SHOOTING ON 16MM To match the visual style that the director is looking for, we are looking to shoot on 16mm. As many of the scenes are set at night time, this means a lot of extra cash needs to go in to lighting, in order to capture high quality footage. Once the footage is captured, we need to process it, and due to the decline in the use of celluloid over digital, this can prove costly.

• LOCATIONS Locations are by far one of the biggest expenses on any shoot. As well as the sets themselves, there are permits and sometimes other permissions from the Met Police or other emergency services that need to be acquired for the shoot to go ahead.  Due to the nature of one the locations and indeed certain things that happen in the plot (no spoilers!) we have to use a specialist service to secure our most important location, and with that, comes a cost.
   
• CREW Nobody who is working on this film is working for free, other than the director and the producer. Whilst we are fortunate to have a team of people who passionately care about the project, including many who can identify personally with the central story, we are a nearly all-female crew, and to ask people to work for free, without being fed, on a night shoot, is not how we ethically choose to operate. We are paying people fairly for the time that they are giving to the project.

These are of course, not the only costs. We are fortunate to have some key supporters behind us who are cheering us on, but we really need donations in order to realise this project.

What Do I Get for Supporting this Project?

Other than the priceless knowledge that you are donating to support a really important story- and of course, the everlasting gratitude of the filmmaking team, you can get some really cool perks, which you can see on the right-hand side of this page.

What If I Can’t Donate?

Not everyone has the spare cash to donate to these projects, and we get that. What you can do, if you believe in this project, is help us spread the word on Facebook and Twitter. If writing a tweet is stress you don’t need, fear not- you can RT the campaign here

* The team would like to thank Nye Williams, Philip Ilson and Wil Jones for their help in putting the crowdfunding video together.