Mini Productions and Mint Pictures present the Oscar qualifying, BAFTA AND BIFA long-listed drama, Edith.
Edith explores the heartbreaking inevitability that is old age. Written by novelist Ray Robinson, whose work has been shortlisted for both the James Tait Black Memorial Prize and the Authors’ Club First Novel Award. His novel Electricity has also recently been adapted for screen and premiered at the BFI London Film Festival. This is Ray’s debut screenplay.
In his directorial debut, Christian Cooke continues to emerge as one of Hollywood’s most engaging and sought after talents with his acting career showcasing roles in Cemetery Junction, Hello Carter, The Art of More and Romeo & Juliet. Executively produced by Mat Whitecross and Fiona Neilson from Mint Pictures, whose credits boast the fantastic 24 Hour Party People and Spike Island.
Set with the backdrop of the stunning Northumberland countryside, this high concept, award winning short film was shot early 2016 and starred BAFTA winner Peter Mullan (Trainspotting, War Horse, Tyrannosaur) in the role of the haunted Jake, with Michelle Fairley (Game of Thrones, Harry Potter, Suits) as his Shelia. Supporting cast includes Elliott Tittensor (Shameless) and Sia Bennett (Mr Selfridge).
Edith hit the festival circuit in late 2016 and had it’s world premiere at BAFTA qualifying Cambridge Film Festival in October. It’s next screening is at Aesthetica Short Film Festival in early November and London Short Film Festival in January 2017.
Lost & Found – Digital FilmMaker Magazine
Exclusive: Here’s your first look at the BIFA Best British Short 2017 Long List – HeyUGuys
Edith on the Movie Trailer Trash Podcast – listen to episode here
“I can only commend all involved with Edith for making a truly moving short film that is indisputably one of the best short films we’ve ever encountered on this website.” – The Film Magazine
“This cinematic work of art on many levels is a must-see for every lover of short film.” - Yellow Bread Magazine
“Tender, sad, affecting; this is a movie to be watched over and over again to uncover its layers of subtlety and nuances, and the tension between love and inevitably, loss.” - About-Blank
“With the gentle help of a friend, he starts to come back to life. It’s a study of grief, but isn’t depressing or mawkish, which is nice. And it’s beautifully shot and executed.” – Wild Fire
“Pulling no punches in delivering its raw, compelling, and impactful narrative to viewers.” – One Film Fan
“This is a fantastic short and don’t fret that it’s all doom and gloom, there’s a positive message to be found amongst the sadness.” - Film Carnage
“Edith features a stunning cascade of sharply-directed visuals, which eloquently tie the past with the present, while subtly hinting at their irreparable bond.” - Eclectic Pop
“Striking an optimistic endnote, achieving a remarkable amount within just a fifteen-minute runtime, this is a subtly underplayed composition and all the more powerful for it.” – Tony’s Folio
Since his wife, Edith’s, death four months ago, Jake has fallen into a life of drinking and isolation. He believes that Edith is haunting him and now she appears in his local pub. Drunk and fearful, Jake rushes to the toilets where he falls and soils himself. We flashback to Jake as a young man, spying on Edith as she enters a derelict cottage with another man. Shelia, a new acquaintance at the pub, takes Jake home and asks about Jake’s son. Jake starts to open up and almost tells her that he’s not the boy’s father, when he suddenly jumps to his feet and sees Edith, standing behind Shelia, laughing soundlessly. Jake kicks Shelia out of the house.
That night, we flashback to the young Jake and Edith walking along the beach. Edith tells Jake that she is pregnant. Jake knows the child isn’t his, but he doesn’t say anything. We discover Jake raised the boy as his own, but the boy died in a car accident when he was a teenager.
Morning: Jake talks to Edith’s ghost; today would have been their son’s fifty-first birthday. Jake heads to the cemetery but can’t bring himself to enter. He turns and heads for the ramshackle cottage in the woods, where he assumes his illegitimate son was conceived. Jake wanders around, half-expecting Edith to reappear. He talks to her absence and we discover that because he adored Edith so much, he never told her he knew the child wasn’t his.
Jake returns home to find Shelia waiting. When he sees the depth of emotion in Shelia’s eyes, he knows he has to let go of his past. Shelia tells him she is confident she can change Jake’s life. Nervously, Jake looks around, but Edith doesn’t appear. We leave Jake standing in the doorway, staring out over the moor; he shuts the door.