STILL LIFE, a new dark-comedy short film directed by Oliver Hill, executive produced by Fabien Frankel, starring Ewan Mitchell, Saura Lightfoot-Leon… and a bunch of mannequins

Ewan Mitchell is no stranger to our screens at this point. Most known for his portrayal of Aemond Targaryen in HBO mega hit House of the Dragon, he has already established himself as one of Britain’s most interesting and versatile young actors. Most recently working with Emerald Fennell on Wuthering Heights and Justine Triet’s latest film Fonda. When up-and-coming director Oliver Hill, who was working as an assistant director on House of the Dragon at the time, approached Mitchell with a script for his delightfully offbeat and wickedly funny new short Still Life, Mitchell couldn’t resist but take a chance on the new filmmaker.

Alongside Ewan Mitchell stars Saura Lightfoot-Leon, whose dynamic work spans leading British indie favourite Hoard alongside Joseph Quinn as well as Paramount’s The Agency with Michael Fassbender and Richard Gere. Mitchell and Lightfoot-Leon’s on-screen chemistry is an undeniable talking point of Still Life.

FRONTRUNNER spoke with director Oliver Hill, stars Ewan Mitchell and Saura Lightfoot-Leon as well as executive Fabien Frankel to discuss the film’s origins and where they hope it will take them.

Oliver Hill

FRONTRUNNER: How did Still Life come to be and what prompted to write a film about mannequins?

OLIVER HILL: I really have Ewan to thank for Still Life getting off the ground. I’d been working on House of the Dragon with him, and I remember giving him the script on a Friday. Monday came round and when I saw him at work I couldn’t have hoped for a better response. He was totally on board. After that, the next person I got was one of our fantastic producers, Csilla Tornallyay, and we were off to the races. 

The mannequin idea started with a classic case of using the constraints around me as inspiration. I knew I needed an idea that would be cheap and straightforward to shoot, but I also knew that I wanted to showcase Ewan’s talents front and centre. He’s more than capable of carrying scenes on his own. In this case, he spends the first half of the film acting opposite inanimate objects! Therein lay a fun challenge for both of us which I think is what initially got me excited about the project. When I started writing it became clear that there was something deeper in the story. It’s really about Ewan’s character longing for a human connection and the lengths he’ll go to find one. 

FRONTRUNNER: Can you share some details on how you found your leading stars and what it feels like to direct the likes of Ewan Mitchel and Saura Lightfoot-Leon as a first-time director?

OLIVER HILL: Having worked on all 3 seasons of House of the Dragon as well as Wuthering Heights with Ewan, I’d actually known him for a number of years. Saura, I’d never met before this process. I was a long-standing fan of her work, particularly in ‘Hoard’, and knew she would be perfect for this role. We reached out to Saura’s agent, who kindly passed the script on to her. I met up with her in London, and I was immediately struck by her intelligence and enthusiasm for the project. 

I feel incredibly lucky to have worked with both of them. Especially as a first-time director. It actually made my job remarkably easy, working with actors that just ‘get it.’ We talked a lot about their characters together in prep, so that when it came to shoot it was just a case of implementing our conversations and letting them have fun with the material. I came into the shoot with a very clear plan of what I wanted, which I think is vital. It allows you to have something to fall back on whilst you’re experimenting and finding new moments when in the thick of it on set. The result is a great mixture of the planned and the spontaneous, which I think feels like an exciting combination to watch.

FRONTRUNNER: Making short films is one of those impossible tasks. There is never enough money, time, or opportunities to sell them, yet they are an important stepping stone for filmmakers. How is Still Life defining your career, and where do you hope this film is going to take you?

OLIVER HILL: Totally agree. It’s a miracle whenever a short film is made. I hope this film marks a turning point in my career and allows me to focus more exclusively on my own creative endeavours. That’s the takeaway, really. I hope people can get lost in this world for a while and come out of it having felt something. I’d love this film to open a few doors for me and secure me more opportunities to keep doing this thing I love. 

FRONTRUNNER: You have some incredible crew attached to the film. Steven Price, academy-winning composer, Bonny Monger, Emmy-winning hair and make-up designer, Natasha Duursma, cinematographer and one of the most sought-after names in the industry, Elisha McCormick, Editor with credits such as Batman and Paddington in Peru. How does having such amazing support around you make Still Life an even better film?

OLIVER HILL: I’ve always approached my own creative projects with a strict philosophy of surrounding myself with people who are far more experienced in their roles than I am in mine. It forces me to be a better director and think differently by virtue of the questions I field from their individual areas of expertise. Half the battle as a director is creating an environment that allows each artist to thrive.

The process was such a beautiful experience from start to finish. Everyone that you’ve mentioned above approached the film with the same passion and love that they tackle their far bigger projects. It was a real team effort. 

FRONTRUNNER: Describe the essence of the film in 3 words.

OLIVER HILL: Weird, heartfelt, weird.

Ewan Mitchell

FRONTRUNNER: You have worked together with Oliver for years on House of the Dragon. What were your first thoughts when he sent you the script?

EWAN MITCHELL: During the filming of House of the Dragon Season 3, we were sitting in the green room when we got talking about writing. I (cheekily?) said, “pitch me something”. The fact that Olly then wrote such a singular short, which is so concise in its execution, over the following three weeks, is a testament to his talent. After reading it, I knew immediately I wanted to help realise his vision and jumped in.

FRONTRUNNER: Saura Lightfoot-Leon plays JOAN, your co-star in the film. What did you enjoy most about this collaboration?

EWAN MITCHELL: Saura Lightfoot-Leon brought such a fierce, unique, and timeless grace to the role that hooks you in as a scene partner. It was a privilege to have a front row seat and to witness her raw talent. I truly believe she’s a star of the future and hope we get to work with each other again. 

Saura Lightfoot-Leon

FRONTRUNNER: You have starred in films and TV shows such as Luna Carmoon’s Hoard or Paramount+’s The Agency, but Still Life is your first short film as an actor. What excited you most when you were asked to play JOAN?

SAURA LIGHTFOOT-LEON: It is indeed. The path my recent work has taken has felt a little inverted, moving quickly into complex roles, from Hoard to big television productions with Netflix and Paramount. I was longing for something quieter and more personal, and Still Life instantly resonated. There was something about the delightful eccentricity Oliver Hill has managed to capture with these characters that charmed me. Joan’s peculiar openness and momentum drew me in right away. At its core, Still Life examines connection as a fundamental need, and the sometimes desperate and unusual paths we take to find it. 

FRONTRUNNER: Ewan Mitchell is such an exciting actor to have as a scene partner. How did his acting and character shape your approach towards the story?

SAURA LIGHTFOOT-LEON: Ewan is one of the most compelling artists I’ve worked with. He has a fierce commitment to the work and a natural instinct for adapting to the world his character lives in. Collaborating with someone like that is a gift. It unlocks a sense of play in me and invites me to meet him in that space. 

Fabien Frankel

FRONTRUNNER: You are getting busier and busier behind the camera. What made you say yes to being an Executive Producer on Still Life?

FABIEN FRANKEL:  It’s a rarity that you read a script that has the magical peculiarity of Still Life. It feels reminiscent of those great black comedies from the 70s, but it’s set here and now. At a time when people have never found it harder to get out in the world, this is a film that allows you into the head of the wonderful enigma that is Leo.

FRONTRUNNER: Can you share why you think Still Life is going to be an audience favourite?

FABIEN FRANKEL: You never know how an audience is going to react to a piece of art. It’s what makes it so nerve-racking, but I have a little feeling that the world Olly has created is just too intriguing, and the performances he’s managed to get from Ewan and Saura will just trap you in too much to forget.