Director's statement:
"All Our Ghosts" is an extremely personal film, born from the unexpected passing of my father. In the aftermath, I struggled with overwhelming feelings of anger and confusion. Making sense of these emotions still seems impossible, but writing helped me find some comfort. In those early days, I sought solace in heartbreaking films about grief, such as "Manchester by the Sea", to the confusion of my relatives. I realised that personal emotions, when shared, can become universal. Through this film, I aim to create a powerful, emotionally resonant experience. My hope is that audiences will find a reflection of their own grief and feel less alone.
I chose to write this story from the perspective of a young son, influenced by observing my brother’s response to our father’s passing. Over the years, I have witnessed the deaths of too many close family men and noticed a recurring pattern: sons left behind often feel a sense of duty toward their households. They suppress grief, prioritising support for their mothers and sisters, the only ones expected to express sorrow openly.
Society still enforces the belief that men must remain strong, that mourning is a 'luxury' they cannot afford. As a daughter, sister, and friend who has seen this firsthand, I wrote "All Our Ghosts" to shine a light on the overlooked issue of male grief.
The expectation placed upon sons to become the ‘man of the family’ can have negative consequences, not only for them but also for the women in their lives. This pressure reinforces the outdated belief that women must rely on men in hardship.
This is why I need to tell this story now. Conversations around gender roles and emotional expression are evolving, but much work remains. With "All Our Ghosts", I want to contribute to this dialogue by highlighting the unspoken struggles of men who suffer in silence and the broader societal structures that enforce these expectations.
Choosing a blend of horror and fantastical elements to explore deeply personal and relevant themes allows "All Our Ghosts" to connect with a broad audience. By transporting the story into a surreal world, we tap into the growing interest in genre films that carry strong social commentary.
Having recently completed the MA Fashion Image course at Central Saint Martins in London, I began exploring video art, with works exhibited at the Museum of the Moving Image in New York and the Barbican in London. "All Our Ghosts" marks my debut in narrative filmmaking, paving the way for my feature currently in development, supported by the Marché du Film in Cannes, the Italian Ministry of Culture, Torino Film Lab, and the Sitges Women In Fan Residency, among others.
