My Blonde GF
Logline:
Helen discovers that deepfake images of her in sexually explicit and violent scenarios have been uploaded onto a porn site and goes on a journey to understand what has happened to her.
Synopsis:
In November 2020, an acquaintance knocked on Helen’s door to tell her he had seen explicit photos of her on a porn site. Helen had never shared intimate photos, so she didn’t believe it, until she saw for herself.
She had been deep-faked. Her face had been digitally edited onto images of women in sexually explicit and violent scenes. Helen stares into the viewer’s eyes as she describes the deepfakes which appear to be of herself, but depict her face on other women’s bodies in rooms she has never entered and scenarios she has never experienced.
Helen felt violated and paranoid. She called the police to report the crime, but they told her there was nothing they could do, no crime had been committed. It is not illegal to make deepfake images.
Helen’s mental health deteriorated as she began to live out these scenes through nightmares. The fictious images took on a life of their own, altering her own memories and perception.
To regain control, Helen chose to speak out about her experiences. As she confronts her unresolved feelings about who created these images and why, Helen challenges the culture that treats women’s appearance and image as public property while the perpetrators remain anonymous. She no longer carries the constant fear and anxiety, but the experience has changed her forever.
Helen is one of many women who have shared their experience with this increasingly common form of image-based sexual abuse. She and others are part of a campaign calling for real and meaningful online safety protections for women and girls and for changes to the law and conversation around deepfakes and image-based abuse.
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Rosie MorrisDirectorTrees
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Rebecca Mark-LawsonProducerIrene's Ghost, Poly Styrene: I Am A Cliché
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Daria NitscheProducerPoly Styrene: I Am A Cliché
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Clair MaleneyProducer
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Helen MortKey Cast"Self"
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Tyke FilmsProduction Company
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Lindsay PoultonExecutive Producers for The Guardian
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Jess GormleyExecutive Producers for The Guardian
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Hannah Bush BaileyExecutive Producer for BFI Doc Society Fund
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Emma LangguthDirector of Photography
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Vera SimmondsEditor
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Darryl O'DonovanOriginal Music by
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Raoul BrandSound Designer and Re-recording Mixer
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Jordan CarrollDirector of Photography: 2nd Unit
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Dave HollowayDrone Operator
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Joana MagalhãesFocus Puller
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Bernadette BakerSecond Assistant Camera
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Elena NassatiGaffer
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Aris AnastassopoulosSound Recordist
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Betty AldousAssociate Producers
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Ginta GelvanAssociate Producers
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Project Type:Documentary, Short
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Runtime:18 minutes 39 seconds
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Completion Date:January 11, 2023
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Country of Origin:United Kingdom
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Country of Filming:United Kingdom
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Language:English
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Shooting Format:Digital
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Aspect Ratio:16:9
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Film Color:Color
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First-time Filmmaker:No
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Student Project:No
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Digital Cinema Package:Unavailable
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Krakow Film FestivalKrakow
Poland
May 30, 2023
World Premiere
Short Film Competition -
Sheffield DocFestSheffield
United Kingdom
June 17, 2023
UK Premiere
Official Selection -
Aesthetica Film FestivalYork
United Kingdom
November 8, 2023
Official Selection -
Bolton International Film FestivalBolton
United Kingdom
October 7, 2023
Official Selection -
Fish&Films FestivalGranville
France
November 30, 2023
French Premiere
Official Selection -
Folkestone Documentary FestivalFolkestone
United Kingdom
October 21, 2023
Official Selection -
Human Rights Film Festival BerlinBerlin
Germany
October 18, 2023
German Premiere
Official Selection -
London Short Film FestivalLondon
United Kingdom
January 19, 2024
London Premiere
Official Selection -
Short of the Week
November 17, 2023
Official Selection -
16 Days 16 FilmsLondon
United Kingdom
December 2, 2023
Official Selection -
British Shorts Short Film FestivalBerlin
Germany
January 20, 2024
Official Selection -
Curiosa ShortsGranada
Spain
December 4, 2023
Spanish Premiere
Official Selection -
Sedona International Film FestivalSedona
United States
February 25, 2024
North American Premiere
Official Selection -
Summer Shorts Film FestNew Paltz
United States
July 20, 2024
New York Premiere
Winner Best Documentary -
FIWOM - Film Festival for Women’s RightsSeoul
Korea, Republic of
September 25, 2024
Korean Premiere
Official Selection
Rosie is a London based filmmaker. She invites audiences to walk alongside the people in her films, and to meet them at eye level. She prioritises intimacy and emotion and the relationships involved in making the film. She graduated from the Directing Documentary course at the National Film and Television School in February 2020. Her latest short film, My Blonde GF, was developed through the short form station at Berlinale Talents 2020 and subsequently commissioned by OKRE, the Guardian and BFI Doc Society through 16 Productions and award winning production company Tyke Films. My Blonde GF premiered at Krakow International Film Festival and Sheffield Doc Fest before launching online on the Guardian in October 2023. Her films have screened at festivals including Aesthetica Short Film Festival, FIPADOC International Documentary Film Festival, Underwire Film Festival, Bolton Film Festival, Folkestone Film Festival, Otherfield Film Festival and Women Over Fifty Film Festival. She was a finalist in the 16 Days and 16 Films competition 2020, with her short film Heart Eyes and a World and her graduation film Trees was nominated in the student documentary category at the 2021 International Documentary Awards (IDA) and was subsequently acquired by the global short film platform watchargo.com.
Rosie is currently in post-production on an Arts Council Funded short Close your Eyes to See and her first documentary feature film, This Moment and The Next, which was commissioned and funded by the University of Essex.
I have an ongoing preoccupation with exploring female identity onscreen. MY BLONDE GF is a continuation of my concern with how life online can infiltrate our private worlds and pose a threat to empathy, and to our understanding of the truth. I developed a strong relationship with Helen and delicately dug into the impact of her experiences. These conversations informed my approach. I hope that the film will be a genuine journey of empowerment for Helen whilst raising awareness about this terrifying issue.