Ten years ago I was at a preview screening at the British Film Institute (BFI) of short films shot and set in London. My smartphone-filmed short, 160 Characters, was part of the programme and told the story of me raising my son Jim alone.
I was excited to have my film included, but by the end of the night I was a little less euphoric. I was one of only a handful of women directors screening work that night and almost every film in the programme was set on a council estate, featuring one-dimensional characters who were either mad, bad or sad.
At the post-screening drinks, I met some of the male directors who’d written and directed those films. Several of them had put between £20,000 and £40,000 of their own money into their productions, hoping their short would be the calling card to their first feature. Having a “day job” was not a concept they seemed to have come across.
