BFI FUTURE FILM FESTIVAL 2025
Fionnuala McCormack
I’m Your Baby
FESTIVAL SCREENING
Thursday Shorts 20th Feb, 2025
FEB, 16, 2025
I’m Your Baby” is a textured unravelling of female experiences with sexual abuse. Inspired by real-life events that have happened to Irish women, the film showcases the reality of female subjection and sexualisation. All told through an experimental lens intertwining evocative text messages and intimate visuals.
Hi Fionnuala, how does it feel to be at the BFI Future Film Festival this month with I’m Your Baby?
So delighted! It’s such a brilliant festival so it feels really special to be a part of it.
This is going to be I’m Your Baby premiere screening, what does it mean to you to get this type of recognition for your film?
When you make a film, especially experimental, you never know how it will be received. So having it premiere at a festival like BFI Future Film Festival is really exciting knowing that a wider audience will be seeing it. I’m also delighted that the incredible cast and crew will have their talent showcased, especially the really amazing Cara Bradley who plays the lead.
How important are festivals like BFI Future Film Festival, in creating a platform for short films and filmmakers?
Festivals like this are so important. They create a space where filmmakers can connect with like-minded creatives, see a diverse range of stories from around the world, and be inspired by the work of others. Filmmaking can be an isolating process depending on different production stages, so festivals provide that nice outlet for connection and celebration of the craft.
Short films are a vital medium in the film industry, yet there are few opportunities for the public, outside of festivals, to see them. What more can be done to make short films more visible and accessible to the wider cinema audiences?
There are some great platforms out there such as Short of the Week which showcases short films for free, but there’s definitely room for more. More funding and support for accessible streaming platforms dedicated to shorts would make a difference.
Can you tell me a little bit about how I’m Your Baby came about?
In 2020 a collection of non-consensual nude photos of Irish women and underage age girls had been leaked on a social app called Discord. I felt such a fragmentation in the female image and frustration in the cyclical nature of these assaults and violations against women. My frustration came from not just that event but the way these incidents are repeatedly normalised and dismissed as something that "just happens to women.”
I became actively engaged in conversations about the issue, connecting with other women, advocacy groups, and communities. With support from Arts Council Ireland, I was able to develop this idea and explore these ideas through a more experimental and emotional lens, capturing not just the issue itself but the feeling of being trapped in this ongoing cycle.
Did you have any apprehensions about creating a film that not only deals with such a salient issue faced by Irish Women but is also inspired by true events?
Not at all. These are difficult conversations, but if we don’t have them, nothing changes. The more we talk about these issues, the more awareness we create, and hopefully, that leads to some sort of change. What’s important is approaching it with care, doing your research, and making sure that the film is handled in a sensitive way throughout the process.
What is the message you wanted to convey with this film, and now that you can be defective do you you think you’ve achieved this?
I’m Your Baby is an experimental film, so rather than delivering a single or clear message, it’s more about evoking an emotional response. I wanted viewers to feel something—to experience, even in a small way, the vulnerability, frustration, and isolation that many women face. If the film encourages dialogue around the issues it explores, that’s a good thing.
Have you always had a passion about film?
Since I was a young kid I loved picking up a camera, making silly films on a camcorder with friends. For a while, I considered pursuing a degree in photography, but I was advised that film could offer broader opportunities while still allowing me to incorporate my love for photography.That pushed me toward filmmaking and a film degree at IADT’s National Film School.
How much has your style and filmmaking approach changed since your first short?
With every project, I’ve become more focused on human connection and relationships—both on screen and behind the scenes. I’ve learned how important it is to build strong collaborations with my team, whether it’s narrative or documentary. That trust always translates onto the screen, making for a more intimate final piece.
Does your background in cinematography help inform your approach to directing?
Yes, having a cinematography background helps me visualise scenes instinctively and understand how to achieve certain shots efficiently. Having done different roles also gives me a deeper appreciation for the work of everyone on set. I think when you’ve worked a variety of roles, you become more empathetic —you do really see filmmaking as a collective effort rather than just one person’s vision. And that collaboration and collective effort without egos or judgement is how it should always be.
What was the experience like filming in Nairobi?
Filming in Nairobi for a previous BFI Network short was challenging but incredible. Three of us from Northern Ireland went over and worked entirely with a local crew, which was an amazing experience. Adapting to different working styles was tough at times, but it was also a great learning opportunity that pushed us creatively. For this film we embraced the environment and natural lighting, working closely with the locations rather than trying to control them, which I think adds an authenticity to the film.
What has been the most valuable lesson you discovered about yourself as a filmmaker during the making of this short?
Moving forward, I want to work with editors rather than handling the editing myself. Bringing in outside perspectives, fresh creative input, and different ways of thinking ultimately strengthens the final piece. In this case, budget constraints meant I had to take on the editing myself, but the experience reinforced how valuable it is to have another set of eyes helping shape the story.
Another major takeaway was the impact of music and sound. Working with an experienced composer on this project was incredible. Stuart Brown and I were completely in sync when it came to style. Music and sound played such a crucial role in the film, almost acting as dialogue in certain moments. It added an emotional depth to the film that would have been impossible to achieve otherwise.
"What matters is having the motivation and drive to make something and to bring people together to tell a story."
Is there any advice you wish you had been given when you started your filmmaking journey?
Don’t let other people’s opinion’s worry you too much. Criticism isn’t a bad thing. It’s something you can use to improve and grow. No film will ever be perfect and that’s okay. What matters is having the motivation and drive to make something and to bring people together to tell a story. Just taking that step is something to be really proud of and an achievement in itself.
Moving forward, what themes and subjects are you looking to explore with future films?
So far all of my work centres around the female perspective, female rights, and women’s experiences. For now, that’s where my passion lies. I’m sure my focus will evolve as I grow older and gain new perspectives — which is interesting. I am drawn towards documentary filmmaking, as I often work with communities and collaborate with groups of people. I see myself continuing to explore that space, blending documentary elements with experimental storytelling to create films that not only inform but resonate with audiences in a more intimate way.
And finally, what message would you want your audiences to take away from I’m Your Baby?
I hope it opens up space for dialogue, challenges how we perceive women’s experiences and pushes us to question ingrained societal attitudes.