Leftovers (Script)

As the only child of ageing parents, who left their families in Malaysia and moved to the UK decades ago, this project is something very close to my heart and delves into my fears for their future. This film contemplates social isolation from the point of view of those who, like my parents, live far away from their remaining family, and in an age where digital communication is paramount. It takes an intimate look at the immigrant experience at these isolating periods in every person’s life. It's this sensitivity that inspires an Analogue style in the film.

When I became a "befriender" volunteer for Age UK, I was introduced to more individuals who had also immigrated to the UK. Having conversations with them about the day to day really highlighted the barriers that exist even after decades living in a country, and the more general barriers that the ageing population face as a whole. We spoke about the struggle with rising costs, heating a home, absent family, and even getting food. I knew I could use Film to speak to this experience, and share it with audiences who might eventually find themselves in a similar position.

Another reality Leftovers speaks to is the risk of falling, a risk that increases with age. When I undertook hydrotherapy I was surrounded by more senior patients who had broken bones falling in the garden and other domestic situations. I have friends who have dropped everything when elderly relatives have fallen, cancelled trips with hypothetical worry, others are afraid to move away or out the family home. This affects every generation.

There is a sense of guilt that overhangs any decisions that could lead to us being absent at a time of need, and so I wanted to touch upon this in the form of Francis’ son. It is so easy to blame ourselves and blame each other, but Celia’s understanding builds a bridge between generations and opens a conversation around what it means to be there for each other in a way that is optimistic, exciting and joyful.

Given that caring is so often a role associated with women, it feels fitting that still story is told by them and through them. East and South East Asian representation, and the representation of older women, is critically low in all media. It is therefore important to me that this film offers an opportunity to maximise representation.