We'll Watch The Sky
A cautionary tale. As nuclear war becomes imminent, two estranged lovers reunite and find a final moment of peace at the end of the world.
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Jack R H O’SullivanDirector
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Jack R H O’SullivanWriter
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Bryan LambProducer
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Jack GrintProducer
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Sarah Michael MarksKey Cast"Marian"
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Tony MandersKey Cast"Arthur"
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Wiktoria WabnycKey Cast"Voice of Suzanne"
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Reece BollenKey Cast"Public Broadcaster on Radio"
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Bryan LambKey Cast"Lewis the Fleeing Neighbour"
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Benjy KempKey Cast"Jackson the Fleeing Neighbour"
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Christopher PerifimouKey Cast"Alex the Fleeing Neighbour"
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Billy ChandlerKey Cast"Steve the Fleeing Neighbour"
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Harro FolkmansDirector of Photography
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Rio SwattonVFX Artist
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Benjy KempBoom Operators
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Christopher PerifimouBoom Operators
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Jack GrintSound Supervisor
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Nazira AhmedUnit Stills Photographer
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Bryan LambClapper Loader
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Jack R H O'SullivanEditor
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Project Type:Short
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Genres:Drama
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Runtime:10 minutes 34 seconds
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Completion Date:March 28, 2026
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Production Budget:300 GBP
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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:1.78:1
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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
London-based independent filmmaker and storyteller, proudly neurodivergent.
Their work draws on lived experience with Tourette Syndrome, Autism, and OCD, shaping a voice grounded in emotional precision and psychological detail. Through intimate, character-led narratives, they explore connection, rupture, and the overlooked dimensions of everyday life.
A graduate of BA (Hons) Film and Television at London College of Communication, they have directed award-winning short films and developed a multidisciplinary practice across directing, editing, and narrative construction. Their work is guided by a commitment to perspective, where difference informs form, and cinema becomes a space for attention, empathy, and reflection.
I wrote 'We’ll Watch the Sky' in response to a persistent unease. Nuclear escalation is often framed as historical, yet its language remains present and increasingly normalised. The threat exists at a distance, but it is absorbed into daily life.
This film brings that distance closer. It focuses on Marian and Arthur, two people living within the quiet routines of later life, whose world is shaped by decisions made far beyond their reach.
The approach is deliberately restrained. The film stays with small actions and familiar rhythms. Conversation, hesitation, shared space. Their attempts at reconnection unfold in fragments, shaped as much by what is unsaid as what is spoken. These moments are ordinary, but they carry weight because they are fragile.
The political dimension emerges through attention. Public language reduces catastrophe to abstraction, but lived experience resists that scale. The film insists on the value of what is usually overlooked. A conversation in a kitchen. The act of staying. The possibility of forgiveness.
By the time the outside world begins to rupture, the intention is not to shock, but to clarify. Loss is no longer conceptual. It is specific, personal, and irreversible.
This film is concerned with proximity. Not the spectacle of destruction, but the intimacy of what disappears.