Our Manifesto:

  1. We will work with people and communities to find out what they want to say, and equally, how they want to say it; their health and wellbeing will always come first above any other metric.
  2. We pledge to always create an inclusive filming environment, free of bullying and overtime hours, and to hire crew that is representative of people of colour, the queer community, people with disabilities, and those from a lower socio-economic background.
  3. We recognise that too often filmmakers in minority groups are expected to only make work about ‘issues’ that wider society position them against - rather than what they as unique individuals find relevant or interesting. We reject this tendency and want to work with filmmakers on any story or genre they wish.
  4. Wherever possible and when appropriate, we will work with participants of projects using co-production methods so that they are equal providers of the final products. Ultimately, their stories are theirs to own and control.
  5. We will ensure that our productions remain as carbon neutral as possible.
  6. Our aim is to effect positive societal change. We will always ensure that once our work is made, its journey to being seen is thoughtfully considered and mapped out so that the people and communities we work with are listened to and heard.
  7. We will create one piece of work pro bono for one charity or not-for-profit organisation with a less than £50,000 income stream per year. If you think this should be for your charity or organisation, please get in touch.

We reject the notion that linear and traditional forms of filmmaking and content creation are always the best ways to tell a story, and look to the Beyond Story manifesto as guidance and inspiration for how to prioritise storytelling that disrupts the status quo:

“Forms are cultural, political, and ethical commitments in their own right. We believe there is a social obligation to challenge received forms and to celebrate the process of finding form in the formless and formlessness in the form. Cameras film things as they are happening. People experience the world in real time, but also in felt time. Reality often feels unmoored, confusing, unstorified, especially when experienced in crisis ... We need forms of documentary that seek to rupture the self-satisfied logics that normalize the current state of affairs; we need forms that do not feed upon and into the colossal denial that allows this state of affairs to continue.”