
A film which has been deservedly lauded on its festival circuit and is inspiring contemplative discussions from the post screening Q&A’s to waiting line’s at the toilets, writer/director Debbie Howard’s Safe is a film whose central tension of an unnerving encounter at a bus stop was drawn from Howard’s and countless other women’s real life experiences. An office cleaner on her way home faces an ambiguous yet immensely unsettling interaction, which upon first glance might not spark anxiety, but for anyone who has experienced that intangible, disquieting feeling sends immediate chills through them. Howard’s film opens up a vital conversation about the subtle but deeply ingrained fears women are forced to contend with regularly in public spaces. By focusing on a situation where no overt crime or aggressive conflict takes place, she immerses audiences in the mounting dread, emphasising how seemingly harmless moments can suddenly turn threatening. With Safe, Howard didn’t just want to depict an isolated incident but instead shine a light on the everyday microaggressions and experiences that can be hard to explain to others but leave a lasting impact on women’s sense of safety. During the film’s development, Howard fastidiously consulted with several organisations, including The Women’s Equality Party and Rape Crisis, whose invaluable insights helped shape the film’s authentic portrayal of these issues. We’re proud to share Safe today on Directors Notes below after which we talk to Howard about immediately connecting with lead actress Laura Bayston’s and their joint personal experiences, why having predominantly female-led HODs and crew was so crucial and getting up close and personal to the unfolding action with handheld camera work.
Firstly, could you talk a bit about what inspired you to create the film and how your own experiences, as well as those of the women around you, shaped the story?
Safe was born out of the countless distressing encounters that I, along with every woman I know, have faced in situations similar to those experienced by our protagonist, Anne. I wanted to portray the profound trauma these situations inflict, even when no overt crime is committed. These encounters are often impossible to explain fully to the police, or even to loved ones, yet they are all too common. Some women feel comfortable chatting with strangers in public – it doesn’t mean they want anything more. Women inherently sense when a line has been crossed, and Safe sheds light on these moments, urging audiences to reflect on the boundaries of respect and consent. This is why I wrote Safe.
I was especially committed to hiring female heads of department (HODs) for this women-centred story, resulting in a strong, predominantly female crew.
During the development of the film, I sought insights from organisations such as The Women’s Equality Party, Know the Line, Rape Crisis, and Our Bodies, Our Streets. Their input was invaluable. We received a small grant from the Violence Reduction Unit at South Yorkshire Police and production funding from BFI Network, working with their talent exec to finalise the script. Additional funding from Lush and a crowdfunding campaign increased our budget. I think what made the storytelling so authentic was that every woman on the shoot had their own direct experience with this situation in some form or another. This shared understanding made it easy for everyone to relate to the story, and I believe it subliminally influenced how each department approached their work.

These everyday fears and microaggressions that women face are something I’ve experienced myself. How did you manage to keep the emotional intensity without making it seem too innocuous?
Firstly, the casting process was crucial and both of our lead actors delivered exceptional performances. Laura and I had many in-depth conversations about our personal experiences that closely mirrored the events in Safe. This shared understanding gave us a strong foundation. Before filming began, I had detailed discussions with the actors about my vision for the project. We were all aligned, which allowed everything to unfold naturally. Each of us could draw on our own direct knowledge of similar situations, adding depth and authenticity to the performances. During the shoot, I provided clear, actionable direction to keep them focused and consistent. Honestly, their talent made the process effortless. They truly brought the story to life and were wonderful to have on set.
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As you are dealing with such a sensitive subject, how did you ensure you had the right crew around you?
While developing my feature film, Cold, with Wellington Films, I approached them about producing Safe. I was thrilled when Rachel Robey and Al Clark came on board, and from that point, we worked closely together. I had written the lead role specifically for the brilliant Laura Bayston, whose work I had admired for a while. Laura and I shared many conversations about the script, exchanging personal stories of similar experiences. We were thrilled when James Nelson Joyce joined the cast as Daz. His talent, paired with Laura’s, ensured a compelling on-screen dynamic. We cast the remaining roles locally, assembling a fantastic team.
I was especially committed to hiring female heads of department (HODs) for this women-centred story, resulting in a strong, predominantly female crew. Our cinematographer, Gabi Norland, and I collaborated extensively during pre-production, discussing mood boards, shot lists, and technical approach. We opted for an Alexa Mini with Zeiss Supreme Radiance prime lenses and a 1/4 black satin filter, ideal for shooting in low-light conditions within our budget. On the shoot, Gabi operated the camera herself, all hand-held. Editor Julie Buckland worked from home in London, sending us versions remotely before I joined her to complete the final cut. The sound design and mix were by Emma Butt, who skillfully created atmosphere through naturalistic soundscapes, as I had decided early in pre-production that I didn’t want any use of music at all. Vanessa Taylor at Gold Crest brought the visuals to life in the grade, making the film look stunning. I’m really proud of the response to Safe and eternally grateful to our talented cast and crew.

His portrayal was far more intimidating than I had imagined when writing the script.
I’m really interested in how you worked with James Nelson Joyce on his character. What was it like guiding him through the scenes where his actions made Anne feel uncomfortable?
Working with James was effortless. He’s a fantastic actor – remarkably natural and incredibly skilled at portraying menace, even though he’s so lovely in real life. I only provided direction when necessary, as James brought the character of Daz to life with such authenticity. In fact, his portrayal was far more intimidating than I had imagined when writing the script. He exceeded all my expectations and added a depth to Daz that truly elevated the character.



I felt every uncomfortable silence and movement enhanced by the eerie tone and visuals. Why did you choose to shoot Safe handheld and with that particular camera set up?
I knew from the start that I wanted the film to feel very natural, up close, and personal. I wanted the camera all handheld to enable us to be immersed within their world. It felt like the right choice for the story. The specific decisions about the camera and lenses were shaped through conversations with my cinematographer, Gabi Norland. As someone with an acting background, I’m very much an actor’s director, and I’m not particularly technical. Instead, I focused on conveying the tone and feel I wanted. Gabi tested different options, showed me examples, and together we chose what worked best. Of course, budget played a role as well. We had to work within our means, and this approach fit both our financial limitations and the creative vision we had for the film.
To ensure consistent downpours, we allocated a third of our budget to rain machines and operators supplied by Rowley’s, a decision that considerably enhanced the film and was worth every penny.
Finding the right location for Safe must have been tricky. How did you settle on the bus stop, and what were the challenges of filming there in the cold?
Location scouting was key, as we needed a bus stop with minimal traffic but authentic road markings. We found the perfect spot with the help of our location manager, Richard Knight, though it lacked a bus shelter. Our production designer, Elly Langlois, sourced one from London, transported it to Sheffield and assembled it on-site. We also used a nearby venue, The Hide, owned by friends, as a unit base for catering and warmth – a lifesaver during our winter shoot.
Rain was another critical element. To ensure consistent downpours, we allocated a third of our budget to rain machines and operators supplied by Rowley’s, a decision that considerably enhanced the film and was worth every penny. Shooting took place over two freezing winter nights, from 4:30 p.m. to 3:00 a.m. Challenges included busy streets, reflective glass on the bus shelter, malfunctioning taxi windscreen wipers, and keeping the actors warm. Laura, who was soaked down for every take, wore a wetsuit under her clothes to keep her dry and warm, but she was still freezing after several hours. Our dedicated makeup and costume team worked tirelessly to keep the cast comfortable between takes. Despite these hurdles, the shoot went smoothly, thanks to the incredible efforts of the entire crew.

You mention that rain was a critical element in Safe, and when I imagine the film with music, I don’t think it would have the same powerful impact. How important was it for you to focus on the diegetic sound?
From the outset, I knew I didn’t want to include a score. I wanted the tension to arise naturally from the action, rather than being imposed by music signalling to the audience, “Feel afraid now.” Using diegetic sound felt like the right choice to keep the experience grounded, real, and naturalistic. I was confident that our actors could deliver the intensity needed, and our exceptional sound recordist, Adam Fletcher, ensured we captured high-quality audio on set. His work gave us a solid foundation to build on. Our sound designer and mixer, Emma Butt, then worked her magic in post-production. She skilfully enhanced the soundscape, adding elements where needed to maintain a sense of realism, even when some sounds were created in post. Together, they brought the audio to life in a way that fully supported the story.
I wanted the tension to arise naturally from the action, rather than being imposed by music signalling to the audience, “Feel afraid now.”
I even found myself referencing Safe right after watching it, so it’s clear why it sparked so many discussions in Q&As. Do you hope these conversations, especially among men, will lead them to reflect on their behaviour? Was there any particular audience discussion or feedback during its festival run that stood out to you?
There has been excellent conversation and feedback at most festivals, really. Once complete, Safe began its festival journey, gathering acclaim along the way. We won several awards and many nominations, including Best Director and Best Screenplay at the BAFTA-qualifying Aesthetica Short Film Festival. The film sparked vital conversations about women’s safety, often through engaging Q&A. It created a buzz and got people thinking about a lot of the issues raised in the film. At the Aesthetica Short Film Festival in York, we had several screenings with Q&As, and I was told that there was a lot of conversation in the women’s toilet queue afterwards. At the Bolton Film Festival, two young men caught up with me after the screening and were really engaged and reflecting on their own behaviour and how they could do things differently.
Quite a few people spoke about the non-speaking character of the young man with the headphones and phone that comes into the bus shelter and how they realised that we’re so absorbed into our own bubbles we often miss things going on right in front of us and that they could be more vigilant and do more to step in and support those that might be being harassed. One of the male crew members told me that during filming, he hadn’t fully understood the impact of the story. But when he watched the film on screen, sitting next to his girlfriend, everything clicked. He noticed her reaction – she was leaning as far back in her seat as possible, gripping the armrests, and visibly frightened. Seeing her response profoundly affected him, and it was then that he truly grasped the weight of what we were portraying.

Including Safe, you’ve tackled some powerful topics like HIV, race, and loss, along with a documentary about the human spirit. They all have this theme of giving a voice to the unheard. So, what’s next?
My next feature film, Cold, which I’m making with Wellington Films, tells quite a different story from Safe, but it continues to advocate for women and remains very women centred. We’ve recently applied for BFI funding, so we’re keeping our fingers crossed. The film focuses on two women who couldn’t be more different, and it explores challenging themes like coercive control, sexual abuse, homelessness, and domestic abuse. In addition, my feature documentary Lifted delves into recovery from addiction and the fight for survival.
We also have a new short film in development called Roach, written by Laura Bayston, who stars in Safe and will play the lead role. We’re currently seeking funding for this project. Beyond that, I’m developing two TV series, both driven by strong, women-led stories. Hitched is a comedy about a wedding band from Liverpool, which I co-wrote with my sister, Rachael Birch. The other, The Return, is a drama with a slight sci-fi twist – but I don’t want to reveal too much about that just yet. I sincerely hope the industry continues to support more stories by women. Progress is being made, but there’s still a long way to go – both in the industry and in society as a whole.