Written & Directed by GILLIAN HARKER
Produced by DAVID ANTHONY THOMAS
Tom and Kelly have, on the surface, a passionate, loving relationship. But Tom has a shameful secret he is desperate to keep hidden from Kelly.
READ OUR INTERVIEW WITH GILLIAN
Tell us a bit about yourself and your filmmaking background.
I started out as an actor and found that I loved the camaraderie that comes with being on set. I started collaborating with other actors, writers and directors around 2017 /2018 and decided to take the plunge and make my first film in 2019- which was Cross! Since then, I've made a number of short films to hone my craft, widen my skill set and develop my cinematic voice. I love working on Super8 too- I think it has such a nostalgic quality to whatever you shoot.
Tell us about the genesis of Cross. What inspired you to make the film?
Really, at that point, Cross emerged from the need to just make something myself; test what I was capable as a writer and director. I knew I wanted to keep the parameters quite tight: two characters, 1 main location (my old flat!). So, when thinking who these two characters could be, my instinct was that they were a couple. So, then I had to think what the conflict would be? What did I want to examine?
At the time of writing, much discussion and debate had arisen on gender-identity, gender politics and the concept of toxic masculinity- topics which continue to ignite fierce debate. It's something that still feels very polarising,.. and everyone seems to have an opinion on how other people should live. I was keen explore the fluidity of self-expression, - particularly in terms of the stereotypes towards those that stray beyond the 'gender-normative' boundaries. I went down a rabbit hole, researching...just stuff. I don't remember looking for anything in particular in the beginning. I came across an interview from a man who had hidden his need to dress as a woman from his wife for years. Something he said really struck a chord with me: "I can cry when I'm her, but I can't when I'm me. If it wasn't for her, I'd be six-feet under." He talked about his fear and the feelings of shame. They interviewed his wife too. She talked about her shock and distress at finding out. There was so much complexity and nuance with their story- ~I felt that would be worth exploring in my first script.
Tom is terrified of Kelly finding out his secret and once Kelly does, she isn't entirely sure how to deal with the discovery. This ideal of masculinity that Tom appeared to represent to her has been turned on its head and she assumes all sorts about him and their relationship. One of the things I felt strongly about when making 'Cross' was that I wanted the film to not 'explain' away Tom's motives for doing what he does and to not attempt to sum up the behaviour of either character in a neat package. It felt audacious to complete a ten-minute short film of this nature in this way. First and foremost, the film is about love and trust. Male and female roles in relationships are continually evolving and at any one time, one may need to lead and support the other. Often, words fail to articulate complex feelings. Action is what is need to communicate and reconnect. Kelly, in my film, fails to find the words but knows that she can show her acceptance of this other side to Tom.
How did you find taking on the roles of both director and actor?
Ah I really loved that experience!. My lead actor, Ryan Hayes, and I had a great working relationship and natural chemistry so it made things much easier. I had a supportive crew which was what I needed as I was very green in terms of directing at that time. I've made a few more films since then where I've been the actor and director...and actually I find the worst part is when showing it to the audience. I hate it! So, the process of acting in my on films I love. But, the sharing it with the world...I hate! Hah!
What obstacles did you overcome while in the making of this film?
My own brain! That little voice in my head saying 'I'm not really the sort of person who directs!' I will always have that little voice rattling somewhere in the background, but I've made enough short films now where it's getting a bit easier to ignore!
Tell us about the journey of getting your film to audiences.
I really loved the festivals we screened at, but I was fairly naive going in. We applied to 'big festivals’, as you do. We had lots of rejections, but it found a home at some wonderful film festivals across the UK. I'm super proud of what we achieved with my debut short film. We generally had really lovely audiences, picking up a few awards. It resonates with people in different ways.
What do you think is the biggest challenge short filmmakers face trying to break into the industry?
Ultimately, a lot of it comes down to funding. Unfortunately. I’ve made a few super low budget shorts, with most being self-financed- but that isn’t a sustainable way of making films in the long term. In most cases, to make that ‘calling-card short’ we’re all hoping to make, we need a decent ish amount of cash. I think securing finance from brands is the way forward as public funding and soft financing is over super competitive.
What are you working on now?
I'm developing a scripted short film about grassroots girls' rugby league- called Rhino- which I'm super excited about. We're trying to secure the full finance for that. That's always the hard part, right? I’m co-producing a short, stop motion animation with a brilliant filmmaker- I love her work- so hopefully can share some updates on that soon.
Any film recommendations that we should add to our watchlist?
Hmmmm...new films I've seen recently that I'd recommend: Sebastian Lelio's The Wonder. I think Florence Pugh is such a fearless, charismatic, honest performer and I’d pay to watch her read the Argos catalogue!
I feel like I want to recommend some great short films I’ve seen recently, so here goes:
Voices, directed by Abbie Lucas
Suoterapia (Primal Retreat), directed by Santtu Salminen
I Heard You Calling in the Night, directed by Paul Bertellotti
Heart Failure, directed by Will Wightman
Candy, directed by Sarah Grant
Le Pompom, directed by David Hourregue.
Doughnut, directed by Liam White
The Ballard of Olive Morris, directed by Alex Kayode-Kay.