Eve has spent a long time caring for her bedridden husband, David, and longer still missing the connection they once shared. When a medical breakthrough offers her a pill that will restore his health for seven days, and end his life when the week is over, she sets aside her ethical beliefs for the chance to feel his love again. The reunion begins joyfully. Then David grows frustrated with Eve's clinginess, the old distance returns, and the days keep running out. Linger, which has its UK premiere at HollyShorts London, is a restrained, aching film about the gap between what we hope for and what we actually get.
It is also the directing debut of Jaro Waldeck, a cinematographer with 15 years behind the camera on live action and documentary work, including the drama Dreamtown and the documentary Housewife of the Year. She describes Linger as "a drama cloaked in a lo-fi sci-fi trench coat," built from practical props, low-key VFX, and futuristic touches folded into everyday life through location, production, and costume design. The story grew out of a hard season. While it was being developed, she and writer Bobby Moloney both had loved ones facing life-threatening illness, and Irish and UK politicians were debating assisted dying in their parliaments.
Key Takeaways
- Linger uses a single speculative device, a pill that buys seven days of health, to explore assisted dying, caregiving, and the disappointment of expectations meeting reality.
- Waldeck and composer Natasa Paulberg built a "soundscape" rather than a traditional score, drawn from sounds found in Scandinavia and in the human body.
- An acting workshop gave the longtime cinematographer the confidence to direct actors in her first time leading a film.
Waldeck spoke with us about stepping out from behind the camera, a cruel line discovered between takes, and why her work always comes back to one word: connect.
Interview
What drew you to make this film, and why this story, why now?
During the time the story was developed, both myself and the writer had loved ones who were going through difficult, life-threatening health battles, and conversations were had about one's right to end their own life. At the same time, Irish and UK politicians were debating the issue of legalizing assisted dying in their respective parliaments. As this becomes more demanded by citizens of countries around the world, and as more people face having to provide daily care for ill family members, the choice of when and how to die should lie in our own hands.
What surprised you most about the filmmaking process, creatively or logistically?
I was surprised how much more involved I needed to be in all aspects of the process as a director, as opposed to my other role as a cinematographer. The attention to detail is immense, and while daunting, it is also immeasurably more exciting and intoxicating.
During post-production, offering the first passable edit to a few trusted individuals for feedback opened my eyes to how the lead character was perceived. It helped me guide further refinement of the story and the final cut of the film.
What moment in the film feels most like you, or like something only you could have made?
There are two moments. The first is when Eve hugs David in the bathroom and tells him she likes his face. I have shared that same sentiment with my husband.
The second is the confrontation scene, again in the bathroom: the subtle, subcutaneous verbal stab David delivers to Eve. That was a moment found in between takes, when Nick leaned towards Catherine and whispered to her. I wondered how cruel it could be if he gained her confidence and, instead of something sweet, delivered a crushing comment. It made the hair on my arms stand up.
What was the hardest creative decision you made while making the film?
Probably the choice of music score, which was predominantly created from sounds found in Scandinavia, where my husband is from, and in the human body. Natasa, the composer, and I called what we created a soundscape rather than a music score. Nobody could quite tell what it was going to sound like. It was all in my head for the longest time, and Natasa skillfully pulled it out and untangled it into what you hear in the film now.
What tool, technique, resource, collaborator, or mindset shift helped most during production?
An acting workshop I took part in. As a cinematographer, I have filmed a lot of actors over the years, but I have not been privy to their prep process with a director. Seeing how to talk to actors, how to explore their characters, and how to rehearse gave me confidence going into production.
It comes back to relationships with everyone involved. They take time and attention. Nurture them. Treat everyone with respect, and choose to work with people you can trust and who can elevate your game. There is nothing worse than working with a crew member you don't trust, and it's on you if you're in the director's seat.
What do you hope audiences take away from this film?
There are two lines running through it, at least for me. The first is expectations versus reality: nothing ever turns out the way we imagine it, so how do we handle disappointment? The second is the moral and ethical dilemma of assisting someone to die with dignity in a world where it's not a legal act. Would we help if our loved ones asked? Would we help if they weren't able to ask?
Linger has reaffirmed my interest in telling complex human stories, the ones that live between the absolute white and black ends of the tonal range. I like dealing with difficult characters, trying to find empathy for their actions and understand their thought processes. Filmmaking makes me more compassionate, and I would like to offer audiences stories that might inspire the same in them, even if they would make a different choice from the characters on screen.
What does it mean to have your film selected for HollyShorts London, and where do you see it going next?
It is a privilege. HollyShorts London was one of the carefully selected few top film festivals we wanted to get into, and we are still pinching ourselves that Linger was selected. The festival has a great reputation among filmmakers, and we are happy that our UK premiere is here.
We hope it can land on the screens of other popular film festivals around Europe and the rest of the world. By its nature, this film is a niche story, but we've found that when it's seen by varied audiences, its themes often hit very deep with viewers and spark many a conversation. At the core of all my work is a desire to connect.
Main Cast & Crew
Cast
- Catherine Byrne
- Nick Dunning
Crew
- Director: Jaro Waldeck , a cinematographer for the past 15 years making her directing debut
- Writer: Bobby Moloney, award-winning writer of live action and animated shorts, including Lady Betty, starring Colm Meaney
- Producer: Maria O'Neill , whose credits include The Black Guelph, Garech Browne – Last Days of Luggala, and IFTA winner John Connors – The Travellers
- Director of Photography: Eleanor Bowman ISC
- Music Score: Natasa Paulberg
- Sound Design & Mix: Nikki Moss
- Editor: Breege Rowley
Follow the film.
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