DIRECTED BY Abbie Lucas
Written BY OMAR KHAN | PRODUCED BY Håkan Carlsson
A couple overhears a violent fight next door and must decide whether or not to get involved.
ABOUT THE FILM
Voices is a short film that defies genre. It won Best Drama at the BIFA Qualifying Beeston Film Festival, Best Horror Short at the Atlanta Shortsfest, and Best Suspense at Chicago Reel Shorts. Drama? Horror? Suspense? Whatever the genre is, all we know is that it’s goooooood!
It also won the Audience Award at Tweetfest and the Si Spencer Award & Best Screenplay at Unrestricted View (as well as a Special Mention for Best Director) - both festivals were BIFA qualifiers.
Voices played at over 45 festivals internationally, but highlights include the BAFTA Qualifying Aesthetica, Fastnet, the Oscar qualifying Seattle International, Durban, ScreamFest, Waterford, Milwaukee, Nevermore, and our very own BIFA qualifying Kino London Short Film Festival, where Omar Khan was nominated for Best Performance in a Comedy. The film was also nominated for Best Score.
ABOUT THE FILMmaker
Omar Khan has written for TV, theatre, short films and radio dramas. His short film The Plunge, premiered at Palm Springs ShortsFest and was long-listed for a BAFTA after being selected for over 60 international film festivals.
In 2021 he was selected for the BBC Children’s Scripted Development mentorship which led to a radio drama for the CBBC show, Malory Towers, and ten TV credits; episodes of the CBBC shows Princess Mirror-Belle, Odd Squad, Little BadMan and The Dumping Ground and the CBeebies show Biff and Chip. He also wrote an episode of the BBC3 show The Break. In 2023, he wrote two episodes of the Channel 4 continuing drama Hollyoaks and became a BAFTA Connect member.
Abbie Lucas is a film director based in London, originally from New Zealand. In 2018, Levile TV listed her as one of the Top 20 Rising Female Filmmakers in the UK. She is a member of Directors UK and BFI NETWORK x BAFTA Crew 2021. In 2022 she was invited to participate in the Reykjavik International Film Festival Talent Lab.
As a storyteller, she enjoys stories with flawed relationships, female protagonists, vigilantes, crime, and a bit of magical realism but most of all loves work with strong performances and impactful story lines. She is known for exploring dark themes in ways that are humorous and unexpected.
Her recent film credits include the award winning TESTING GRETA, an unusual story about domestic abuse, which took the 'Greeks of the World' Prize at the 40th Drama Film Festival in Greece and was screened at the BAFTA recognised Aesthetica Film Festival in 2018, and another short comedy titled DEAD TIRED which was been nominated for Best Script and Best Comedy at the Beeston Film Festival 2018 and also for Best International Comedy at the Austrian Film Festival 2018. In 2020 she completed two more dark comedies, GOOD VIBRATIONS and THE HANKERBOX, and in 2022 she completed CAPTURE HER and VOICES, all of which are on the festival circuit.
READ OUR INTERVIEW WITH OMAR & abbie
Welcome to our Short of the Week series. Can you tell us a little bit about yourself and your filmmaking background?
OMAR: My name is Omar Khan and I’m a screenwriter and reluctant producer! I’ve written and produced five short films, including The Plunge and Voices, both of which had successful festival journeys. I work mainly as a screenwriter, currently I am part of the team at Hollyoaks and I’ve worked extensively at CBBC.
ABBIE: My name is Abbie Lucas and I'm a Director, Writer and Editor. I studied Directing and Writing back home in Aotearoa, New Zealand and when I moved to the UK, got involved in directing theatre and then moved into web series and short films. I also co-write features with my US based writing partner Kevin Kautzman and have many years experience editing commercials, branded content and short films.
Tell us about the genesis of Voices. What was the inspiration behind the film and how did the project get greenlit?
OMAR: Voices started as an idea, after a news report about Boris Johnson and his partner having an argument at home, which was overheard by the neighbours who then called the police to report possible domestic violence. This turned into a small media frenzy, with some papers arguing that you have no right to call the police on a private, domestic matter and other saying that you have a duty to do so if you suspect someone is being hurt. This inspired the start of the film in which the couple have this very argument when overhearing their neighbours domestic dispute.
ABBIE: I first became involved with Voices when Omar sent me an email introducing himself. He had seen some of my work and was interested in potentially collaborating, so we met up for a coffee, got along well and he sent me a couple of shorts he's written. Voices was the one I connected with because I like stories that are told in an unusual way, it was almost like a modern myth or fairy tale about a very adult situation.
What were some of the main obstacles you experienced when making Voices and how did you overcome them?
OMAR: I had saved up funds of about £6k and had decided that I would make the film myself without any other funders. I didn’t want to be a the mercy of gatekeepers and had the utmost belief if the story I was telling. Though it did mean we didn’t go on any holidays for a while!
The main obstacles were around the limited funds and ensuring we could make the money within that and ensure everyone was paid. The last day became a bit of a mad rush and we only just got the last shot while the sun was about to go up. Also, I had a wonderful producer in Hakan Carlsson, who got a great acting job the week we were supposed to film. So he had to produce the film remotely from Sweden, while I took over some producing responsibilities on set. We made it work!
Tell us about the journey of getting your film to audiences and some of the festival circuit highlights.
OMAR: We started submitting to festivals in early 2022 via Film Freeway. We had a slow start. At first we were reluctant to submit to genre festivals. We had made a sort of horror/thriller but I was concerned the film wasn’t horror enough for the horror specific festivals. Once I embraced the horror festivals though, the festival submissions snowballed. This included selection to the renowned horror festival in LA, Screamfest. Other highlights include, Bafta qualifying Aesthetica, Oscar qualifying Seattle International and Durban. We were also grateful from the support of some UK festivals that had also liked my previous film The Plunge and were really supporting me as a filmmaker such as Tweetfest, Kino and Beeston.
What do you think is the biggest challenge short filmmakers face in the early stages of their career when trying to break into the industry?
OMAR: The biggest hurdles is raising the money and convincing people to make the film for lower than their usual rate. I am lucky that I have a day job as an optometrist and am reasonably well paid and so I was able to save up and raise the funds myself. This made it slightly easier as I wasn’t at the mercy of gatekeepers and funding bodies and could make the film I wanted. Low funds create other problems, such as reduced crews and less shoot days, which create a real pressure.
ABBIE: The biggest challenge I think filmmakers face early on in their career is finding a way to jump from shorts to features or TV. The technological advances have made it so much easier to get a short off the ground but it remains difficult to go professional as the industry is risk averse, expensive, cliquey and doesn't afford a great deal of opportunities to people that don't have private access to funds. I wish I had the kind of radical ideas that could provide a solution to this.
What advice or hacks would you give to other short filmmakers?
OMAR: The biggest hack is to have a script that can be made easily. Voices was a ten page script with two characters and one location. All of this lowered the cost and made the film possible. It also helped that people really liked the script and were willing to shoot the film for lower than their usual day rate. Always take the time to get the script right.
ABBIE: The advice I have to give is kind of cliched, but that's because there is truth to it - tell a story that you love because trying to predict what festivals will want to see is a losing battle. Figure out what interesting things (locations, cast etc) you have access to and tell a story based around that, it will help you keep a budget in control.
Any film recommendations that we should add to our watchlist?
OMAR: Film recommendations: I have to say I very rarely watch films these days as I have a three year old daughter and she controls what I watch, which is basically Disney princess films. We did enjoy Wish. But for a real recommendation, we just finished watching the TV show Succession, which was one of the best shows I’ve ever seen.
ABBIE: The best film I've seen recently is Zone of Interest (in terms of filmmaking, it's the opposite of feel good!) a movie I like to recommend in general is Mr. Death: The Rise and Fall of Fred A. Leuchter, Jr. a documentary by Errol Morris. I saw it at film school and it's a masterful character study and disturbing as it unfolds. Actually, both of those films have some crossover themes!
